Through a series of diptychs, triptychs and fliptyches, The Train and The Station explores the spatial and auditory context of movement — movement of people, trains, geographies and contexts. The series of films focus on stations and neighborhoods as disparate islands brought into relation through the train as a connective force.
In the absence of a reference in the dark tunnel, we are moving but we aren't. Yet, the train persists as a constant frame: a steady context.
We are somewhere new, yet nowhere new.
Intense speed and a calm whirring becomes motionless and silent. And then: an outburst of excuse me's, door dings and alerts to stand clear.
The train is a context in motion, conflicted by the speed between islands and stasis within them.
These stations are islands, lodged in the in-between space of a moving train and the fixed ground above. It is quiet, until suddenly it is not.
Whether we are within or between the geographies, they carry on without us. The patterns, structures and synchronizations are imperceptible, coming in and out of focus.
Across the islands, the doors close.