As reference for this piece the author has mentioned Bill Viola’s video Angel’s Gate (1989), produced by the American artist for the series El Arte del Video (The Art of Video) in TVE: a series of allegories about death and mortality with slow fade-to-blacks. The piece does not however pretend to imitate the transcendental style of the revered and inimitable artist, it concentrates on the “attempt to create a somewhat hypnotic flux of moments”, working with the artist’s own images as well as other of public media origin. These are images that remain at the limits of signification and that seem to follow the logic of the duality light/darkness that is suggested in the quote from the book of Genesis, with which the video starts.
Black and white images, some of them slowed down, follow each other fleetingly, with intersecting fade-to-blacks. By framing the images within a window which encloses the space of the screen, the fragmentary nature of this amalgam of “moments” is emphasised. The idea of the fragment and the possibility of constructing meaning are indeed constant elements in other works by Raúl Bajo Ibáñez, even though in this piece, they are part of a more formal and abstract exercise. The soundtrack alternates between direct sound and processed or added sound, and quasi-silence, an effect which contributes to the feeling of flux or connection which the author aims for, always against the deliberate inconsequence of segments.