The Screen (2022).
Miranda Lopatkin uses light, translucency and shadow, to enhance her performative artworks 鈥 like crossfades in a film. Lopatkin is drawn to the feeling of being 鈥渋n-between鈥: not quite fitting into one group or one path, but existing on the fringes or periphery. Her latest pieces reflect on the sense of flux and mixed emotions as we creep out of the pandemic and enter the 鈥渘ew normal鈥. Here, the passage of time is central, as 35 mm slides are projected onto people, captured as photographs taken with a digital camera. In these images, past and present collide as we begin to make sense of a world that stopped, re-set gears and started all over again.
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