Though presented as if behind glass 'stained glass nature' is neither natural nor of stained glass, but like much art has the semblance of or is a simulacrum of the thing that it replaces. There’s a familiar negotiation of meaning and a contract to be agreed between artist and viewer when the artist uses media such as stone, paint or printing and its familiarity has a high profile within this negotiation. This is not to say that both painting and sculpture do not have a temporal aspect, but the durational element is not the most dominant issue with those media, as it is with moving image art. A statement made by Bill Viola made has stayed with me as having special relevance to time based forms:
‘Duration is to Consciousness as light is to the eye’.
Viola means by this that if one gives one’s attention sufficiently through an attentive noticing of the transitions that the work undergoes moment to moment, then a reward comes by going beyond what is apparent. Simply to look for longer than usual will reveal things missed by a slighter glance. When one uses a durational gaze for durational media, taking the time to look, this places the audience in a different part of the spectrum than, for instance, a painter does with painting - and soon the abstracting of the original simply by looking with attention – will replace the original and allow what is hidden behind, to come through.