I have gathered a variety of found footage clips ranging from early cinema, to early video, to present day. Re-shooting this history of evolving moving images off of a MacBook Pro’s LED back-lit glossy display distorts and materially democratizes these differently captured pasts. I then further meld and disrupt the different temporal sources in postproduction via various blending and overlay techniques. Information is lost where layer is gained. “Lossless,” a term which seems so human in its utopianism, is in fact a technical and digital term, first referring to the lack of “dissipation of electrical or electromagnetic energy” and then to “data compression without loss of information” (New Oxford American Dictionary). But digital data is not forever, it is, as the film curator and preservationist Paolo Cherchi Usai proposes in his “Lindgren Manifesto,” an “endangered medium, and migration its terminal disease,” therefore, “the real problem with digital restoration is its false message that moving images have no history, its delusion of eternity”—its delusion of immortality and inhumanness.
2013.
Three film loops, shot and composed digitally, printed via home laserjet to 16mm film in the mode of direct animation.
Shadow-play on the shifting structures of time, architecture, and body.
Silent. 2011.
16mm black & white film, non-sync sound
Winner, Best Experimental and Best of Smith, Five College Film Festival
The case of a young chronophobiac falling through the looking glass.
Our landlocked hero dreams of becoming a sailor on the ocean. Ishmael comes to the rescue.
with Magdalena Bermudez and Boony. Shot in Paris on Super 8. Silent.