DEBRA FEAR obtained an MA in Painting at the Royal College of Art, London, a BA (Hons) in Fine Art in Time-based Media at Wimbledon, UAL and a Foundation in Art and Design, Camberwell, UAL. Her practice inflicts experimental fine-art moving image and sound with poetic sensibilities and sci-fi vibes. Film cognition theory, technological advances and philosophic discussions of the digital context are vital to her practice, since they affect and express collective and individual understandings of moving digital imagery in the gallery and out in the world. Her ever-increasing archive facilitates re-appropriation internally; audio is subject to frequent reconstitution into different works. She refers to these remixes as ‘circuits’, which can be considered analogous to echoes within experiences of time and memory. They are sculpted to absorb the viewer in subjective and intuitive experiences of duration, as qualified by Henri Bergson’s concept of durée.
The works are highly structured, edited compositions with layered timelines that challenge limits of reality, in that their hyper-realistic appearance might be fabricated through entirely fictitious means. In this way they are obviously a digital form of painting, albeit extending out of avant-garde film history and using cinematic archetypes.
For Debra, films are not only philosophic, cognitive instruments, but should incorporate aesthetic enjoyment; an absence of traditional characters or plot necessitates a different sort of absorption and identification. Her current research resides in quantum physic concepts with particular regard to time’s quanta ‘chronons’ which she investigate aural-visually through her studio practice which also often manifests within a creative writing context.