Douglas Gordon

24 Hour Psycho(1993)
This is the work that got Douglas Gordon known around the world, with this he aslo won the Turner Prize.
For "24 Hour Psycho" Gordon took Alfred Hitchcock's 1960 film and slowed it down from 24 frames per second, the cinematic standard speed, to only 2 frames a second. This meant that in the gallery the film would play for approximately 24 hours, where it was played in the centre of a dark room.



Something Between My Mouth and Your Ear (1994)
Something..(1994) offers a possible into the formation of the artist's character. The work is installed in a blue room, which grows lighter and darker according to the time of the day and the intensity of the light outside. Inside of this room are some of the first sounds that Gordon may have heard, they are taken from songs that have been chosen by the artist from the Top 50 that his mother may have been listening to while she was pregnant with him.



Self Portrait (kissing with Scopolamine) (1994)
In Self Portrait...(1994)Gordon confronts his own reflection. He is shown apparently passing on a 'truth drug' to his reflected self. For this he closed his eyes which acted as blindness. Scopolamine is a drug that used to be used for interrogation as it didn't allow the interrogated to lie.
The image was then shown as a negative projection; a flipside of reality. Everything we know turned upside down/inside out. It raises questions; What is the reverse side of self-reflection? What is the opposite of truth?



Between Darkness and Lightness (1997)
Between...(1997) stages a confrontation of 2 films; The Song of Bernadette (Henry King 1943) and The Exorcist(1973). Both films and shown simultaneously on either side of a single screen. They are played at the same time, together and on the same picture plane. Showing these images like this pits the Devil against the Virgin Mary; good versus evil.



Through a Looking Glass (1999)
Through...(1999) is a scene showing Robert De Niro from the film Taxi Driver. In the scene De Niro rehearses his draw in front of a mirror with the famous line "You talking to me?". Gordon projects this scene and its mirrored image on either side of the gallery space, unsure of what is real and waht is reflection, or who is the suject and who is the object. The viewer is physically and psychologically trapped in a virtual hall of mirrors between the threatening De Niro.