Experimental

Two collaborations with composer Mike Vernusky

 

“a saturated glimpse into a disintegrating nightmare where missing links oscillate and become born between separate worlds”.

The film’s visually echoing quality essentially has no beginning or end-or perhaps it’s even missing. The decaying and elusive images interweave, collide and punctuate the surface of the conscious/sub-conscious without complete clarity. ‘Pieces’ of the whole are what is found , as seen in the film’s dense grainy structure which attempts to hold a complete image together without falling into fragmentary abstractness.

When some of these components disappear (as in actual sections of the film itself) , we are forced to accept an altered version of the idea of “wholeness”. When these parts re-surface in an alternate reality, we can then direct our attention to ‘what’ or ‘where’ the connections exist. Only finding lingering threads which may or may not loosely tie together, makes up this incomplete reality. They are interwoven into each other culminating into a birth, which challenges our perceptions of cohesiveness within wholeness

 

Without revealing, the ‘hidden’ cannot essentially exist.

Episode #21 is the latest installment in a series handcrafted films which explore and confront our perceptions of visual representations. This episode titled “Hidden”, reaches further into the illusion of reality, space and time. A disintegrating nightmare again pulled together between separate worlds ultimately revealing the idea of “concealment”.

Shifting hidden shapes punctuate and creep along in darkness while astronauts emerge and merge with amputees in abandoned religious theme parks. New shards of the unconscious puzzle are added in while also expanding and collapsing simultaneously. Memory functions only as an act while objects become shadows of their own (shadows).

Ultimately, the fundamental essence of the filmed image (to expose), is challenged in a back and forth struggle with darkness and with images that are hidden by multiple fragments of color. This becomes its structure. The color black serves as a virus to the actual celluloid, ready to hide ( its light) and infect. It’s here where revealing the “hidden” through the cracks of conciousness, takes precedent.