Karissa Hahn’s REGAL is an experimental video utilizing ‘spectra ephemera’ and format transfers to create a work that is nostalgic and precise in its resolution and meaning. These tools–which involve the use of temporary color spectrums and the degradation of film to affect color–are crucial to the piece, informed largely by the writings of Hito Steyerl in “In Defense of the Poor Image.” Hahn bridges the mediums of found footage, digital manipulation, and film degradation to create an amalgam of visual art.
Hahn is able to adeptly portray low-resolution footage through the use of nostalgic visuals, specifically that of Regal Cinemas’ video introduction. In the artist’s own words, “Such as the loading dial, REGAL aims to circulate and find its way back to the screen. Take this proxy and see that the ghost has become tangible.”
Also see Damian Hondares’ response to Hahn’s video.
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Karissa Hahn is a visual artist who uses the mechanical devices of cinema to deconstruct former artifacts by physically transforming celluloid – an osmosis of digital manipulation & optical printing; creating a degraded aggregation into resurrection. Her work often employs a series of format transfers to birth digitally-native effects on film and homogenized products which have been referred to as ‘spectra ephemera.’ Karissa currently makes performative short super 8 films, hi8 video, and 16mm pieces. Hahn has shown work around the globe in various micro-cinemas and institutions.
