This series of video work relates to the theme of loss. During the year of creating the “Loss Series”, I was myself occupying a highly charged emotional space. In “Loss Series”, the camera is turned on me, using my emotional body as a catalyst for the narrative of the work. The ”Loss Series” experiments with varying techniques for translating emotions and vulnerabilities to video, my own, establishing a connection to the ‘present moment’ in my work.

In order to capture the present moment, my objective was to explore the immediacy of digital video to seize ‘emotional moments’ as I was experiencing them. The digital medium with its portability and real-time capabilities allows the artist/film-maker to become truly responsive to an environment, to a moment. During the development of the “Loss Series”, I kept my computer and camera with me at all times, to document my emotional state, almost as a stream of conscious video diary. With this rigorous concentration on the evolving process of documenting, I hoped to gain a deeper understanding of my own creative process, and aimed to create work from intensely emotional moments. I hoped being comfortable in my creative process would enable a more immediate creative translation of embodied sensations and experiences into images. Each piece is a visual and sonic response to my own trauma; from anger, frustration, sadness, loneliness and fear. These pieces are not meant to be seen consecutively. Each exists on its own.These video pieces are very much focused on process. Some are created in a couple of hours; some are created over a couple of months. All are created in direct response to an emotional situation. Each video is approached very intuitively, much like I would approach a painting, feeding into it, scraping it back, trashing it, and starting again. They are created with a sense of urgency and are quite raw. In some ways I look at them like ‘stream of conscious’ video pieces, capturing moments in time. I look at this body of work I have produced as developmental work that documents a time. Although these pieces are linear, they generally have no beginning or end – they are deliberately incomplete and fragmentary. They explore emotional narratives, hoping to engage the viewer in emotional response. The works wait for the viewer to distinguish a pattern, rather than a pattern of information being imposed upon the viewer.Every video on this reel was created on my laptop. Each was shot with digital video and each video was self funded.

I am you 3.44 minutes 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves Voice: Natalie Waldbaum Sound Recording: Hanna Uotinen

20th Dokumentarfilm- & Videofest Kassel GERMANY 2003

St Kilda Film Festival AUSTRALIA 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

1st Changmai New Media Arts Festival THAILAND 2003

False Emotions Installation exhibition Munich GERMANY 2002


I am you is a disorientating piece explores physical and emotional claustrophobia.

The Human Visible Project recorded a human body through cyrosection (shaves of very fine slices, between .33 and 1 millimeter thick from the frozen cadaver). The extreme care involved with the processes of obtaining the slices and producing the images of the cadaver do not correlate with care for the previous life of the corpse. The first cadaver selected for the HVP was a convicted murderer who donated his body to science before his execution by lethal injection. In life, this man had been rejected by society, and in death, he was highly valued as a great asset of universal information, ‘reborn’ as the visual model for all our imagined, internal bodies.

“I Am You”, another video tin the “Loss Series”, highlights the discrepancy between the body image presented to us by the medical community and the body image we imagine. It does this by isolating an awkward gesture, highlighting both anticipation and personal anxiousness.

The sound track, made from human voice, creates uncomfortable anxiousness and urgency, reflecting a tension that is never resolved.