18 Films About Ted Serios, Chapters 8 & 9.
As Ted Serios manifest his pictures in a disruptive wink between the physical and the psychic, 18 Films erupts as an effluvia of debris — the aftermath of corroded photography, malfunctioning surveillance camera, torn / destroyed negatives, electro-acoustic crucibles, etc. The obsessive suturing of these components — both sound and moving image — evoke ghosts in the machine, the conditions of psychological trauma, and the erratic slippages between states of being. Thoughtographic dislocation. Sound is constructed in situ through electro-acoustic means — shortwave radio, transducers, rough-hewn guitar pickups, wiretapping microphones, motors, controlled feedback etc. — and is choreographed into the video feed collected from three surveillance camera sources and DVD in various states of precision. The images, while mostly fixed, do have the capacity for malleability through the disruption and interruption of the surveillance cameras.Chapter Eight manifests image and sound through a cross-section of closed circuit claustrophobia of electrical disruption and the fetid exuberance of jungle rot. Chapter Nine ruminates on occluded geometries and decomposed nudes on film.
Jim Haynes is an artist defining his work through the phrase, “I rust things.” The statement embraces a multiplicity of meanings across various media. There are three major approaches in the work at large: the mangled surfaces of corroded photographs, the cryptic tension of the video / expanded cinema pieces, and the caustic field disturbances in sound composition. Blight. Dislocation. Subcutaneousness. Toxicity. Brackishness. Psychic unease. These allusions (amongst others) develop and materialize through various chemical, digital and/or analog means, often an intertwined amalgam. This process seeks to accentuate the instability of these conditions and territories as a series of evocations, hauntings, convulsions, and evanescence.
Through sound (and more recently video), Haynes investigate these properties of corrosion, specifically on how decay parallels and relates to the perception of time when cycles of activity collapse into stasis, and how that stasis can rupture when any number of pressures are applied. These result from a cross-contamination of ultrasound detection, shortwave reception, surveillance camera observation, moribund radiophonic exploration, and/or electro-magnetic disruption.
Based in California, Jim Haynes has exhibited internationally at the San Francisco Museum Of Modern Art, the Lausanne Underground Film Festival, the Berkeley Art Museum, WestSpace (Melbourne, Australia), and Diapason (New York). Recorded media has been published through Editions Mego, Ghostly International, Drone Records, and many others. He has also been awarded residencies at the Djerassi Resident Artists Program (California), Recombinant Media Labs (California), Jack Straw Productions (Seattle), and MoKS (Estonia). Until 2015, Haynes was the Vice President and Curatorial Director for 23five Incorporated, a nonprofit organization dedicated to the development and increased awareness of sound arts within the public arena. He is also the lone occupant at The Helen Scarsdale Agency.