Lovesong #3 & 4

Lovesong #3 Three qualities of hand-painted imagery inter-weave throughout this film: (1) a mash of thick lines delineating colored shapes, (2) thin black lines, like drawings, which most suggest recognizable body-parts, and (3) globs of pure color at interplay with each other. An irregularity of rhythm (produced by repetition of frames 2,3,and 4 times) creates the sense of a driving force propelling the inter-weave of these essentially abstract displays: three-fourths of the way through the rhythmic intensity falters, “brakes down” as it were, almost becomes a mockery of its earlier sexual regularity. Instead of a variety midst regular beat, the forms suggest some loose variance. Two formal factors seem to “save the day,” as it were: 1) an increase of beseeming textures, and 2) interruptive white flashes; and these create a meaningful (rhythmically and tonally coherent) ending. Lovesong #4 A natural companion piece to “Lovesong #3,” this (also hand-painted) work counterbalances the rhythmic irregularities and, one might say, temporal despairs with steadiness of beat, creating an absolute progression of formal feeling and meaning. The sense of line drawings, and consequent pictorial representation, has given way to shapes-in-space composed of only four colors: Lavender, Purple, Green and Turquoise. Their dance with the darkness suggests an inter-action of bodies. At the end there’s a flare to a field of white within which a very tiny shape (almost like lips) pulses and finally flickers out.