M O R E T H A N E V E R Buffavento series 2 0 1 4 attempts to reveal, through photographic imagery and wall installation (avian/bird shadow trace) the representation of the Raven (corvidae) and its position within cinematic history and Central Asian and Pacific cultural history, as a transforming of the species subjectively, given the role and potency of its appearance and mythologized status. This series within the M O R E T H A N E V E R project takes the contested geopolitical area of Northern Cyprus in the elevated Kyrenia Mountains as a site of impact and challenging topographical aftermath. Further, the work questions comparable mechanisms through which they can be apprehended and transformed or repositioned within the aesthetics of cinematography and codes of archetypal representation. It is here that the ‘uncanny’ (making strange) utopian aesthetic style has be activated through the spatial configuration likened to an interior cinematic space within the Gallery, rendering both the avian body and aerial perspectives as a slowed gesture of the perceived uncanny. The topographical landscape mountain/aerial perspective imagery within the photographic images takes the agency of weightlessness and disorientation as a key factor in rendering the imagery and the wall works paradoxically anchored for the spectator, giving false, yet desirable positioning. Both the ‘lowest’ (282 feet below sea level) geographical point on Earth, Badwater Basin, Death Valley, Arizona and geographically most politically inaccessible and contested highest (3,360 feet) Mountain Ranges sites (Northern Cyprus/Turkey), the Kyrenia Mountains, are played-out visually through the artist’s imaging and subsequent voice. The two disparate sites, both at low and high elevations topographically are intended to link as sites of great impact both geopolitically and as zones of contested territory. M O R E T H A N E V E R series connects key issues of visually & textually confounding place & presence within landscape, evoking utopian dreams, transitory and transitionary spaces for the spectator/viewer, fading thoughts, reclamation, failure, impossibility and the poignant stillness, strangeness and wonder of the unwritten bodies and sites invisibly circulating through each aerial view.