My practice-based research aims to critically examine the concept and processes of metalepsis, a condition experienced by audiencesthrough a particular encounter with the uncanny.

Narrative metalepsis occurs when a story's narrator intrudes into the narrative universe, or the inverse.

Metalepsis is the central theme of an emerging field of research termed ‘Boundary Language' (Kunze, 1998-present) a visual studypromoting experiment in critical theory, through interdisciplinary study of topology, architecture and psychoanalysis. My own research seeksto employ this methodology as a means to test ways that radically shift the subjectivity of a spectator of moving image to profoundlyreconceptualise the experience of difference.

Biography

My work is concerned with the transmission and interpretation of culture across time. My fine art practice explores relationships betweencinema, sculpture and live performance, where the spectator, art object and its relative position in space and time become aninterdisciplinary medium. I have exhibited extensively, with recent screenings and commissions at CAAM Gran Canaria, Tate, HaywardGallery, BFI Southbank and Channel 4. In 2000 I founded an experimental research platform, The Wayward Canon, is a site for radicalexploration of cinematic practices. Events include portmanteau film with disco transition Simon and the Radioactive Flesh (with GilesRound) (2007), Horror Yoga (2014) Tate Britain and 40 Days at the Rhumba (2018) Kunsthall Oslo / Daedalus Street, Athens. I havepublished articles and essays on cinema and art in Artforum and Frieze magazine. My video work is distributed through LUX.

Find out more: http://www.markaerialwaller.com/

Areas of research interest

Contemporary Art

Moving Image

Philosophy: Experimental aesthetics and archival ontology

Psychanalysis: Lacan / Freud

The Uncanny and Metalepsis