"A glitch has appeared in the reproduction of the world." -Lauren Berlant

The glitch can be understood as a transmission or interruption producing failure within an infrastructure. With the ongoing crisis state that defines our present moment, we now see the significance of our human interventions in the production of the world and layers of accumulative damage.

The source material for this film is four still photographs. Two are of landscapes from my home in British Columbia, and the other two are "glitch" photos. These "glitch" photos were originally images of a convoluted freeway overpass, but through a glitch in processing, the images became fractured beyond recognition. I use these images to reflect on the deep history embedded in the land and the "glitch" that is our human interruption in the natural order of the world.

This film was made on the unceded territories of the Katzie, Musqueam, Squamish, and Tsleil-Waututh nations.

While experiencing the Covid19 pandemic in my self-isolating studio, I have also experienced the noise and destruction of an ongoing demolition outside my window. This demolition is one of many in my city of endless development. I consider the place in which I sit, the ghosts of a past when this was once a vital wetland, and the monsters of the present in their insatiable hunger to control an unknown future.

Sound by Victoria Gibson of VIX media. All images produced by Elizabeth Barnes

This is my first time-based painting exploration, created in 2016. I use the process of layering and motion, to show the connection of painting with narratives of desire, while motion alludes to the passage of time and memory.