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In cinematic films, the relationship between camera and viewer is usually more or less one to one: the camera shows what the viewer would be seeing if he were in the place of action. And indeed, the viewer usually imagines a body attached to the camera, a body that behaves exactly like his own. This body can turn its head or bend its knees; it can come forward to take a closer look or step back to get an overview. Jasper van den Brink takes pleasure in letting this imaginary camera-body perform the impossible. In Tunnel Vision it is floating and tumbling through a road tunnel, holding on to the belly of a turning cement mixer. In this way, using effective camera positions rather than special effects or complex digital tricks, he undermines the one-to-one relationship with the viewer.
(Netherlands Media Art Institute, Vinken & van Kampen)
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