In keeping with the theme of ‘Lost in Hollywood’ and creating scenes with the same objects but in an amplified scenario that could have been an alternative vision by the director, I have set this piece within an unused factory. The layered composition with two sets of doors and great depth allowed me to play on the perspective and distance, meaning I could create a tunnel detail which could simply be an escape route, or a more significant role should you go that way in your head. The layout of the detail that goes into the piece is done in a way that it channels your eye straight down the middle of the piece in line with the perspective of the room.
There isn’t a deep narrative that this piece relies on, I haven’t tried to be to too clever or go off at a tangent, in favour of just creating a piece that is really striking and that embraces everything that is in the film and what makes it great. Entitled ‘OUTATIME’ I have chosen a strong statement title that relates to what you see, a scene where the Doc is working on the DeLorean to get it ready in time to go. Objects are set out to show that Marty is there also. The branding for the film has always been vivid and I have embraced that with the colour ways of the tunnel and the glass bricks, this contrasts really well with the darkness of the front doors and also with the cool blue of the DeLorean lighting.
Because of the cult following of this film there is so much photographic reference material, so I have thrown everything into this piece to pay homage to such a great film. In terms of composition because I have put so much focus on the channels of the piece and the car and tunnel, I have kept the middle front area clean so as not to confuse, instead using fire detail reminiscent of when the car reached 88 and the road burned.
