Hinterland offers the spectator an extremely high vantage point, similar to satellite images of the earth, which reveals a panoramic shot of a marginalised area with precarious structures clustered amid crop fields. By looking closely, one can pick out the figures and objects that microscopically populate the panoramic image. Every detail is rendered in the highest possible definition, because this is not a single image, but a composition of several high-resolution photographs. The artist staged and then photographed each fragment as though it were a sequence in a film, which she then assembled in the final edit of the scene. Hinterland, however, is more than a photograph; it is also a video that invites the spectator to discover the stories contained in the various fragmented settings. In the process of creating the work, the artist did not use a filmed recording of a real physical space. Instead, she animated the photographs that make up the panorama, allowing her to establish different time frames without altering the spaces or the location of the characters. The voiceover enters the scene and in an introspective tone tells the stories of the characters that inhabit this wasteland, stories that also appear as title cards on the screen for the spectator to read.
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