​Other Life

 

2019

Music Video

1ch HD Video  | 1ch HD Sound

4'53''

CG animation, editing and colour grading by Jake Moore

Creative concept and direction by Jake Moore and Semi Precious

Produced, composed, mixed & sung by Semi Precious

Additional synths & piano by Aviram Barath

Mastered by Nick Powell

© squareglass

Other Life combines an ultra-futuristic, sterile and vacuous aesthetic with undercurrents of homoerotic tension. The song’s yearning mood resonated with me, provoking the construction of a digital environment in which the boundaries of my lived identity become more fluid; a technological utopia with an unstable core.

The viewer is guided into a central chamber that visually references gay bathhouses, cathedrals, and the backrooms of queer venues; sites that share a heightened, otherworldly and ethereal atmosphere. Eight figures lounge across one another in anticipation of a bliss that fails to actualise. Their sensual climb plateaus and descends as their bodies begin to degrade; a metaphor for the perils of hedonism.

Dreams in Ultraviolet

2017 - 2019

CGI Film

2ch HD Video  | 1ch HD Sound

6'35''

Documentation credits: Jules Lister and Liz Calvi

Please email jakemooreart@gmail.com for link to full video.

The station of his manufacture was once a beacon of male procreative power. Now void, its walls remain lined with the pointed monuments of a forgotten machismo; an authority rendered null. He quests onward through the ethereal channels of this barren fortress. Each sector remains bare, but this sterility provides him comfort.

 

A pulsating hum rises as two mechanical limbs rotate to face one another. These are the tools of his mass-production — automated and austere phalli whose form appears scorpion-esque. They gracefully bow and then progress through choreographed actions; a courtship display of pumping pistons and fluid motions. Falling in and out of synchronicity, they reserve their intimacies and retreat tip-from-tip. Their union was a fantasy.

 

In the control room, he meets them. The resistant sheen of their skin is an accurate copy of his, taken from the unremitting blueprint from which they were all constructed. Their haunting movements and prolonged stares insist on total presence. Yet, without phallus, they are unable to perform their body’s one role. They are bionic shells of a hollowed masculinity. 

 

He knows this to be a momentary vessel, Utopia is elsewhere.

 

Dreams in Ultraviolet is the first part in a trilogy, followed by Beyond the Water’s Edge.

Beyond the Water's Edge

2017

CGI Film

1ch HD Video  | 1ch HD Sound

2'45''

Documentation credits: The Royal Standard and Jules Lister

Please email jakemooreart@gmail.com for link to full video.

In Beyond the Water’s Edge, a newly synthesised body awakens within an endless ocean; — a reference to the womb, but also a symbol from art history of the unconscious mind. The poreless sheen of his sculpted surface holds a metallic edge; the perfect sterility. Employing computer animation, permits me to construct these fantasies; controlled environments that act as safe spaces in exploring my bodily desires. This is a space in which I hold absolute control over the body; from its wireframe mesh up to the way that the body is lit and framed by the camera. 

Removed of phallus, his masculinity falls redundant. He holds no power here. However, the construction of this physically desirable yet sexually incompetent form falls deeper than a subversion of the typical power structures experienced online. Instead, it extends into rooted feelings of inadequacy, an inability to perform the roles that are expected of our bodies. 

 

As he quests onward through the shallow tides, the cleansing waters rise against the flesh. In its search for a fleeting sense of self-acceptance, he awakens once more and the cycle repeats, infinite. 

Beyond the Water's Edge is the second part in a trilogy, following Dreams in Ultraviolet.

The Ocean's Breath was Salty

2017

CGI Film

2ch HD video  |  1ch HD sound

4'30''

Documentation credit: The Collection

Referencing video game interplay, the audience embody a user who is able to navigate and manipulate virtual reality; an unstable space that can be moulded depending on its required function. Virtual forces of gravity and resistance become malleable, allowing the user to manoeuvre and shape a digital reconstruction of the real for their own viewing pleasure. However, this promise of interaction is denied to the audience. Instead, the reference to video games as a narrative model becomes a method of reconstructing the lived traumas of the body within a controlled simulation, one that the audience is then guided through.

Interested in the uncanny digital translation of natural forms and textures, the work centres on the interpretation of water. Often converting into a heightened blue and surging in a fantastical manner, it feels familiar, yet is removed of all imperfection. I was interested in exposing the layers of construction of this hyperreal aesthetic, disrupting and unravelling them as a method of disturbing the faith that is held in the facade of the digital screen.