Ring

Ring (The Means of Illusion) (2006/2007) begins through the eyes of the artist. Its cinematic thread meanders through a disjunctive chain of images, delimiting a metaphorical shift between two states of consciousness, that of the real as symbolized by the neutral emptiness of the desert, and of a mediated reality as represented by the violent spectacle of various boxing matches. The former contains no thought, no contamination of human interaction, whereas the latter is the fictitious representation of life, a treacherous simulacrum, as manipulated images that relentlessly assault our perception of reality. The fights and clamoring crowds are collaged together as a singular event, feigning a continuity that belies its constructed videomontage.