Blue Esc. Is a short-form experimental film which aims at creating an infinite psychological space through the use of blue light. By situating a character within this blue void, one gains an understanding and perspective of the imagined scale and intensity of what such an experience might entail.
The concept of the piece grew from the idea of perceiving space through imagination (Georges Perec, 1974) rather than as a structure or in relation to surrounding objects and quickly moved into pushing boundaries of questioning reality in relation to perception. Visiting lecturers such as Peter Bathurst and John Weinel had a great influence in the development and inspiration of the piece both in relation to perspective reality and altered states of mind. Although it is quite clear that the place we see in Blue Esc. is not one we might recognise in our everyday physical realm; it nevertheless aims at getting in touch with what might exist as an immaterial matter.
Blue Esc. questions reality as we know it and allows the viewer to simultaneously experience the low-stimuli illumination of blue light being emitted through their screen and challenge their understanding of the presented psychological state. The state in question, as suggested by the frozen expression of the character, is one of the unconscious. It is almost as if the woman is hypnotised, yet equally aware of her surrounding, or even conflictingly a part of it. This conflict of being within or being a part of is taken further by the simplification of the piece exposed in its title which relates to an escape place within the blue, a waking sleep, a place of lucidity and tranquillity created by and existing uniquely within oneself. It is a reach for bliss.
Visually, Blue Esc. uses mostly still, fluctuating in and out of focus shots. As the film develops the gentle transitions of shots are merely existing in between a large amount of stuttered, glitchy ones. They are formed by abrupt flashes of the blue light, the same blue light that at first glance presents as a calm and safe place. It seems to be equally unpredictable, even disturbing. As the film reaches its end, the light assumes its original form of tranquillity, until it doesn’t once the film loops over again.
Finally it is also important to take notice of the sound composed by Matteo Shefford. The static composition compliments the visuals whilst contributing to the creation of depth and infinity within the psychological space presented. The electrical noise brings in connotations of simulation and unreality whilst also grounding the viewer through sound in the presented immaterial space.