The images are stark and beautifully lit; I think of the phrase spoken at funerals; "Earth to earth, ashes to ashes, dust to dust" as I watch the back-lit earth being drawn towards the heavens like gold dust. Three of the four images earth, fire and water have clear references to resurrection but the female character is going nowhere, painfully suspended between heaven and earth - hmmm - I am struggling to make sense of this and then I notice just before the piece ends she has begun to work her hands out of the rope noose. The martyrs seem unemotional, accepting of their fate but viewing the loop again, I see a woman stealthily fighting back, refusing to accept her lot.
All of the images have a generic reference to martyrdom; nothing as gruesome as the vivid, cruel imagination of the medieval mind but nevertheless I reflect on contemporary modern day barbarities - water-boarding, stress position torture, immolation of Tibetan monks and other political protests, casualties of war and suicide bombing and wonder how thin the veneer of civilisation really is.
The imagery of fire and water and the techniques of high speed cinematography and reversed motion are often found in Bill Viola's work, so he is staying inside familiar territory. What is effective for me is that this art work is situated in a sublime place of worship designed by Wren with soaring pillars and decorated dome, that encourages visitors to think of a greater design whatever faith or world view they might hold. The beautiful space of St Paul's provides a spiritual space for us to quietly observe and reflect in front of these simple moving images. In the past, places of worship would have been the main place where us ordinary folk might see art and so returning to this tradition, takes contemporary art to a different, wider audience who might not be familiar with Viola's work. Next time I return I am going to spend more time watching other peoples response to the work.
The work is presented in the form of an altarpiece reminiscent of religious panel paintings, in a frame designed by Sir Norman Foster, sitting over the resting place of Wren, the architect of St Pauls. The images are evocative but ambiguous, inviting viewers to reflect and create their own interpretation and associations.
Bill Viola frequently uses water filmed with high speed cameras, allowing us to see the tremendous force of nature in poetic slow motion detailing every drop of water like mercury. As a diver, I love the sea and being immersed in it. For some people water represents danger and fear of death from drowning but for me it is supportive, immersive and sustaining like the beginning of our our life in the womb. Bill Viola explores all of these elemental aspects in his video installations.
Most of Viola's work can be seen online and the Nantes Triptych which explores the theme of birth and death can be viewed at the Tate Modern. This is a link to his website:
http://www.billviola.com/.
