Grain size criteria. Pixels in space. The earth spins while bodies and cameras wind and rotate on its surface. Sand particles infest recording devices scratching unravelling celluloid. The camera and its operator transform from seers to ecstatic performers.
/ Made possible by // Alchemy Film and Moving Image Residency /// Cafe Tissardmine, Morocco
2018 | 61:35 | 16mm | b&w/color | sound | DCP
A fantasia of post-indoctrination, immigration, and iconography. A pageant of wanderers and searchers. A pilgrimage of memory, history, ancestry, and place.
An experimental documentary that interrogates and explores the seeds of the filmmaker’s own religious indoctrination and eventual apostasy. He revisits the European landscapes where his ancestors were converted to Mormonism in the 1800s. He examines the desert places they colonized in the American West. He returns to Brazil and interviews individuals he had converted to the faith twenty years ago. Part diary film and part surrealist essay, the film deals with the experience of conversion and indoctrination, the pain of apostasy, and the discomfort and contentment from never fully breaking free.
FUNDING AND MADE POSSIBLE BY
Atelier 105 residency, Light Cone (Paris, France) Franklin & Marshall College (Lancaster, PA, USA)
Crawfordsburn, Northern Ireland Escade, Pernambuco, Brazil Iola, Kansas, USA Heber, Utah, USA Lancaster, Pennsylvania, USA Maceio, Alagoas, Brazil Mount Pleasant, Utah, USA Newton, Yorkshire, England Palmyra, New York, USA Recife, Pernambuco, Brazil Reftele, Jonkoping, Sweden Saint George, Utah, USA Salt Lake City, Utah, USA Vicosa, Alagoas, Brazil
Christian Correa Paul Harrold Maria Neves Lins Brad Macdonald Iggy Moss Jeremy Moss Leigh Moss Steve Moss Christian Sullivan Duane Sullivan Leandro Teixeira Megan Thompson Micah Thompson Pamela Vail
That Dizzying Crest
2014 | 10:37 | 16mm to dv | b&w/color | sound
Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.
Those Inescapable Slivers of Celluloid
2011 | 06:45 | super 8 to dv | color | sound
Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush, circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to moving image.
2012 |03:26 | digital video | color | silent
A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.
2014 | 06:48 | 16mm to dv | color | sounds
An experience in layers, scars, and deterioration. The image oozes, rips, and bubbles, emulating both creationist and destructive impulses. The 16mm footage was created and manipulated at Ontario's renowned Independent Imaging Retreat (aka Film Farm).
2014 | 03:57 | digital video | color | silent
Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide.
The Blue Record
2014 | 16:37 | 16mm to dv | color | sound
Combining hand-processed 16mm imagery, a deconstructed lyric essay by Erik Anderson, and an ambient score by composer Vicki Brown, The Blue Record meditates on the pastime of ruin-gazing and its application across a wide range of aesthetic experiences. Informed in part by the work of Alain Resnais, Walter Benjamin, and the Romantic poets, The Blue Record is a collaborative study of what happens when the process of decay is arrested and ruins become commercial entities. Shot on location at Eastern State Penitentiary in Philadelphia, the film is at once an immersive and Brechtian examination of the experience of destruction as an aesthetic pleasure.
2015 | 02:56 | 16mm | color | silent
Created in-camera in Marfa, TX on a freezing day in January on expired film with my Bolex while the sun was setting.
2012 | 04:09 | 16mm to dv | b&w/color | sound
A song of creation: immaterial space spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Created at the Independent Imaging Retreat, the landscape is seen anew by 16mm hand-manipulation giving rise to a geometry of trees and meadows; the sonic score is subjected to similar direct manipulation.
Gods of Light, Idols of Mud
2007 | 21:44 | 16mm to dv | b&w | sound
Three characters are abruptly introduced in surreal fits of action; actions that are attempts at escape and transcendence, but ultimately fail to satisfy. The modern city acts as the ominous catalyst.
Out of the Holes of the Rocks
2008 | 11:46 | digital video | color | sound
Bookended by distinct and impacting rituals, this is the story of a reluctant soon-to-be Mormon missionary and his steadfast girlfriend. Two years is a really long time.
2006 | 13:21 | dv | b&w/color | sound
A personal documentary exploring the US military nuclear weapons testing in the Utah desert and its connections to Mormon culture and community.
2016 | 30:00 | 16mm | color | silent
A filmmaker and a dancer meet in the same location twice a day - once in the early morning, once in the late afternoon - for five consecutive days. They create a series of ten in-camera 16mm films: a piece that maps the progression of improvised dance and cinematography and their collaborative relationship. Both artists untether their training in premeditated construction and make, act, compose, move, see, and interact in the moment.
Can the camera act as a dynamic partner, more than simply a new “stage” or documenting device for the dancer? Can the dancer be more than a subject embedded within the frame and altered by the cut?
2006 | 10:33 | 16mm to dv | b&w | sound
Isolation, repression, and despair in modern-day suburbia; a man and his cake.