s o r r y  t o  k e e p  y o u  w a i t i n g, 2019

We won’t go nowhere

Not unless we have questions

Got no time to spare

Learning all these life lessons

 

Reaching to myself

Through this anger and rubble

She said it would take time

Finding love in all that trouble

 

 

Using sonic and visual interplay as a means to investigate the contractual artifice between the two, sorry to keep you waiting invokes a sense of restless schism by utilising and then releasing the audio/visual contract. Thematically, sorry to keep you waiting procures a narrative of r e a c h i n g as an act emblematic of being neither here nor there, inside nor outside, in front or behind, in protest of tireless categorisation but in support of stating one’s standpoint.    

 

Approaching disharmony in this way evokes what Trinh T. Minh-Ha describes as the "commodity of knowledge" and "mainstream ideology of communication" (Minh-Ha, 1992) that construct the artifice of visual/sonic interplay within film. Train resonances are made into devices to suggest the passing of time, however within the score of sorry to keep you waiting a snippet of music emerges to dislodge that temporal framing. This video score could be seen as the autobiography of the “third space” (Latour, 2017) beside the local and the global, an assemblage of images that will be known to the audience, and some that will not. sorry to keep you waiting is from a place of precariousness where the negativity associated with such a state within the 21st century Capitalist canon is subverted in order to cause schismatic adventure paired with domestic endurance.