Wovie

K builds on the ideas and research explored in
a previous work called SUNLIGHT (2013), which speeds chronologically through an historic archive of thousands of images of the sun taken
from 1875–1945. Photographed in high temperature 'K' light, the images are presented as a staccato animation, a feverishly ticking meter for a narrative told by a self-proclaimed ‘troupe of professional mourners.’ Price similarly revisits a series of photographs taken from hosiery packaging, featuring young women in highly expressive, stylized poses
of fear, dread or despair. They are pictured shielding their eyes; apparently from the camera and/or the sun. In K, these women become the film’s central protagonists.