With sound by John Wynne.
Premiere for MOCA, London, 2020/2021
Having previously experimented with infinite camera/projector loops, this work explores the “tautological elegance” of visual feedback. Originally performed as a live Zoom intervention for MOCA London, I later added a soundtrack by artist John Wynne. Like much of my work, the intention is to abstract from the visible world in order to transform the viewer’s perceptions of “normal” reality.
With sound by Malvern Brume.
Premiered at the Experiments in Cinema Film Festival, New Mexico, USA, 2021
Gaps in the Persistent Hiss is a journey through a landscape both sonically and visually. Through the combination of experimental music and a handheld binocular lens, the video plays with a radically discontinuous almost hallucinogenic image which reveals a primordial awareness of the world around us. At times through this binocular lens, the image acts as a sort of mirror expanding the territory of the visible beyond what the individual can directly experience, by reflecting what is behind the lens, then suddenly acts as a sort of hole sucking up the entire visual world into itself.
With sound by John Wynne and Bouche Bee.
Premiered at the Strangelove Film Festival, 2020, UK
Linescio, like my early film work, consists of sequential experiments investigating links between movement, place and sound, moving in and out of abstraction. Building on the insights of experimental and structural film, this work puts the emphasis on materials, processes, and chance in order to explore concepts of disappearance and impermanence.
Made during an informal residency in Switzerland during the summer of 2020, with sound by artist John Wynne and pan-European avant-garde music group Bouche Bée – Petri Huurinainen, Emmanuelle Waeckerlé, John Eyles.
With sound by Bouche Bée.
Landscape Lens Study exploits the specificities of time and technology, in the spirit of Dziga Vertov’s 1920 film, Man with a Movie Camera, wherein a series of fragments builds into a portrait of landscape and the sensory, psychological, and social dimensions of a virtual world.
This work is one in a series of films I made by attaching a Super-8 camera to various machines or devices: the visual content of each film is determined solely by the events and actions of the context in which it was made; the duration of each film is determined by the length of one Super-8 cartridge. Here the camera was mounted on a shovel. The sound is from a cassette tape bought for 25cents from a street vendor in New York City by sound artist John Wynne.
A Super-8 camera was attached to a jack hammer in London, UK and an invitation was made to the operator of the machine to participate in the making of a film. The film and the sound were structurally determined by the events and actions of the context in which each was made: the duration of each film is determined by the length of one Super-8 cartridge with no editing outside the camera.
A Super-8 camera attached to a snowplow in Toronto with sound from a local country and western bar recorded by John Wynne.
Sound by John Wynne
This film was shot in my father’s house in Southern Ontario, it quite simply records a process of looking out from every window in the house.