CANYON CINEMA USA MExindex LIGHT CONE FRANCE
LINE OF APSIDES
Line of Apsides (excerpt). 16mm, silent, 12 mins 2014. Filmed at the Film Farm, Ontario in 2006 and added to over time. Objects, animate and inert, were examined through viewfinder and under a microscope and goats were interviewed daily. Thoughts coaxed into light in about the order they were encountered. 16mm b&w & color…
Frequency Objects is in two parts. The first combines negatives from family photographs, photograms and found fragments of 35mm movie film, in a montage that finds friction between the animation and smooth motion of movie images.
Through imprecise stops and starts one catches sight of image fragments; figures half in and half out of the frame, faces suddenly happened upon. In the second part, the pattern is of a fabric and various photogrammed objects produce to-scale shadows of themselves.
Above: Astronomer’s Dream; Director’s Cut.
DISTANCE 16mm, sound, 12 mins, 2010
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations”
ELEMENTs 16mm sound 7.5 mins 2008
A few incidental moving figures related to one another by the rhythm of the snowy fog-bound woods, the movement of the moon and the hesitancy of the clouds.
When the trees were enchanted,
In the expectation of not being trees,
The trees uttered their voices
From strings of harmony,
The disputes ceased.
Let us cut short heavy days,
A female restrained the din.
She came forth altogether lovely.
The head of the line, the head was a female.
-excerpt: “Cad Goddeu” (The Battle of the Trees) from the 6th-Century Welsh Book of Taliesin.
End Reel DV Sound 7 mins 2014
END REEL convolves certain aberrations in two image-making technologies; film and video, to produce a complex and largely abstract image without detaching entirely from the narrative contained in the reel. The final minutes of a 35mm Hong Kong action film examined over a light-box on an editing bench with hand-crank rewinds and recorded with a lo-res pocket camera shows fuzzed out fight scenes in an epic triumph of good over evil but lingers just as often on the scars and water damage blooms in the film emulsion itself. Sounds move between sync (creaky rewinds + scraping reels) and added recordings. The decay on the film surface, blur of its movement and arbitrary stop and starts on image frames, create unpredictable associations. The pulsing of the pocket camera’s AWB (automatic white-balance) and the native 60Hz pulsing pattern between the video and the light-box’s florescent bulb add to this, too. These spontaneous textures of unfolding process, like human imprints in sand, form the heart of this moving image work. -JM
(2014) 16mm finished in digital video, 8 mins
CYAN is assembled from numerous 16mm film workshops. Some of the footage is found, most is made, much of it filmed by participants themselves. Accumulated between 2004 and 2014.