1) FOUND FILM MATERIAL READYMADES
2) EXPLORATIONS IN APPARENT MOTION
The sea sucks the seed back into the ocean, the flowers fold like umbrellas, shoots recoil into hiding, in seeds that shrink. Plants accelerate their tremble and wobble and glass unbreaks all around them. Strawberries blanch and tomatoes grow pale. The father, leering, holds forth a flower and suddenly his smile fades to awful seriousness.
In an odd concentrated ritual the father and son carefully tip over all the flower pots, laying the plants to rest and it is in this end, around the time he figures the flowers are talking to him, that the son wishes his father had killed him.
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.”
Filmed at the Film Farm, Ontario and added to over time, objects, animate and inert, were examined through the camera viewfinder and under a microscope and goats were interviewed daily. Thoughts coaxed into light in about the order they were encountered.
Orchard shapes an anxious wandering, as blood through veins, roots through the ground, in landscapes over great distances and even greater expanses of time.
Frequency Objects combines a store of family photographs, photograms, and found fragments of 35mm movie film in a montage orchestrating rhythmic friction between the rough and smooth motion of images.
Frenetic figures and faces half in and out of the frame give way to pattern and abstraction, of shadows created by objects and textures fixed on 35mm black and white print film.
JM 