2006, 3.20 mins, colour, stereo, DV
“Nothing beside remains”. An accelerated shuffle through cinematic ends. The film’s title refers to Shelley’s compressed sonnet on the shattered colossus of tyrant Ramesses II. Ozymandias deploys a database of movie cue-dots collected from free digital-TV broadcasts. This archive time signals provides an archaeological resource to remember cinema’s outgoing physicality, and a method of enquiry into narrative and perceptual processes.
“Ozymandias pushes the dot even further upstage, sampling only the four marked frames, and splicing them together into a pulsating, celebratory spotted dance routine. Beneath the dot, glimpses survive of top-corner movie-action: hats, and hair-do’s, curtains and lampshades: an inventory of life’s peripherals. Imagine a commemorative stamp; there’s that rectangular snatch of an image, and a cue-dot floating above instead of the Queen’s head. “ Judith Palmer, Revolve, October 2006
… focalizes filmic articulation via the references for reel changes imprinted on the physical film, and fetishizes the characteristics of genre films“. RIPBM, November 2007