To present more than two years of work comprising 26 photos and a 26-minute film, artist Tyrone Ormsby has chosen a fleeting digital format accessible for the next 48-hours only.

Artist, designer and film maker Tyrone Ormsby today brings more than two years of work to a conclusion.

After spending the time living alongside a performing arts collective in Portugal as they interpreted, practiced and performed a theatre piece, Tyrone has pulled together 26 photos and a 26-minute essay film documenting the experience.

The works explore the blurred lines between dream and reality, the uncertain value of truth and prod at the internal and external lives of the performers tasked with treading around these issues daily. Exhibited for 48 hours only through his website, the collection is as unique in its form as it is in its content.

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CityMag: Why did you decide to make the exhibition ephemeral?

Tyrone: I see it as a call to arms. As we all are, inspired by the people around us, I feel fortunate to be surrounded by musicians. I have wanted for a longtime for my work to use the same language as music; the same arrangement of sentiment found in song; the transitory and improvisational nature of a live performance.

How has the concept of the film evolved (if at all) since we last spoke about it?

It has changed a lot, even to me the result now seems unrecognisable to what we discussed almost a year and a half ago. The film is now 26-minutes (or so) not 60 minutes (or so) and is now titled Hello !.

The work still straddles truth and fiction; the origin of emotions, what we choose to tell and not tell, ourselves and others; these elements are scattered within the film both as narration and image to help form linear and alternate pathways for the viewer, an interpretation of a dream, so to speak, varies.

What time period and geography did you create the photo elements of the work in?

The process spanned over a two year period (*maybe a little longer), whilst I was living in Lisboa, travelling up, down and around Portugal with the theatre company.

The creation of a performative piece is extremely intensive and that process made the interaction of the interior and exterior world ever-present. The photos split into these two sides; the inner and the external, the often hidden universe of the actor, fiction and truth, statement and question.

Is the exhibiting medium (eg, the internet) important for you to communicate the messages of the exhibition? If so, how does it contribute to those messages?

From the beginning, I wanted the work to be presented digitally, the idea of presenting it online came a little after, a result of both frustration and clarity; the exhibition attempts to play with the nature of online culture and content, the sense that, if you blink you’ll miss it, the epitomisation, and modernisation of time and memory. The perception of time and memory are themes in both the photography and the film.

People are able to purchase photos as part of the exhibition. Given that you curated the exhibition to be part of a process people undertake as they move through the works, how do you think they will relate to the photos differently when they’re in the new context of being isolated and physically printed?

The film and the photography, both, confirm and compel one another, so to choose an image could be seen as an interpretation of the exhibition, or a subconscious rationale of the work. The dialogue that stems from that process, that conversation with people is the most rewarding part for me.

The printing is being looked after by a friend, Toby from SSP, printing photos for him is a new part of his business, and his attention to detail and care throughout the process has been second to none. Also, the work being printed on demand makes the exhibition both non-exclusive and environmentally respectful, both of which are very important to me.