Irene Ros

I have always been fascinated by the conceptual work of Marcel Duchamp, and I tend to adopt a ‘readymade’ approach in my moving image works.
Although there is the occasional burst of planning behind my moving image pieces, what I enjoy the most is cobbling together footage I film with no particular plan and sound I stumble across by accident (or fate). I try not to impose a topic on the material; instead, the topic is the lens through which I gather the material. It is a balancing act between structure and serendipity, an attempt at inductive research that (hopefully) leads to something resembling ‘learned intuition’.

I keep using this practice to self-investigate authorship: how much agency can I take away without losing my author and artist role?

It was during the pandemic that I embraced moving images as part of my practice, creating a series of home-specific works which were exhibited by Fabrica (I), the Centre for the Less Good Idea (SA) and the College Art Association Annual Conference (NY, US)