This is a collection of singly and doubly printed (2 frames for each one) hand-painted work in six parts: PRELUDE 19 begins with hand-painted swatches of variable colors encompassed eventually by vertical strokes of reds and blues, followed by sudden clearings which are counterpointed by sections of multiple blobs of color, these effects alternating again and again to then become contrasted with pale washes of color deepening to end on blacks. PRELUDE 20 begins with pale washes of hand-painted tones overlaid eventually by sharp forms, a kind of sliced color becoming more and more smeared. The first two PRELUDES of this series were double printed, so that PRELUDE 21 is most characterized by the double-time of single-frame printing of extremely thick swatches of multiple colors as if in a furiously boiling cauldron. PRELUDE 22 is a singly-printed hand-painted thick black and gold swatches of color which evolve into forms that are horizontally and vertically sliced, smeared, cut-off until color “runs” sensuously in snake-like shapes, coils, soforth. PRELUDE 23 is doubly-printed hand-painted frames causing an effect almost as if wisps of tone were tinting the film intercut with sharp thin lines which “fatten,” then, into thick crowded layers of paint, senses of great visual depth. This PRELUDE is almost a catalogue of the effects in all previous PRELUDES. PRELUDE 24 returns to the tempo of single-frame printing. Its shapes and forms are composed of nearly black torques of ink, flickering with white and only faintly, now and again, tinged with color. (Stan Brakhage)

This is a collection of singly and doubly printed (2 frames for each one) hand-painted work in six parts: 1) Single-printed multi-colored watery “blobs” and “feathery” streaks of painted color, dominated by yellows and reds interweaving in complexity until there’s an evolution of hard-edge autumn leaf patterns which dissipate into patterns similar to the beginning of the film. 2) This begins in deep brilliant red which darkens into deeper reds and lavender shapes most rock-like, all of which is then shot thru with sufficient yellow to break up all hard-edge form and give a molten aspect to the mixtures of shapes. This is double-printed. 3) Doubly-printed striations of “brush strokes” through multicoloured “rock” forms dissolving them to blackened “mud” eliciting increasing sense of being under earth. 4) Singly-printed criss-crosses of molten “brush” (hard-edge) strokes of black over pebbled yellow, ending finally on an inter-mix of all intertwined forms with increasing lightness/whiteness. 5) Doubly-printed thinnest possible lines and multiple dots of pale color interwoven with sweeps of linear tones in swiftly transversing motion, all deepening from this almost white field of flitting activity to some solidification of forms. 6) Singly-printed evolution from a deep blue-blackness of hard-edge twisting and sweeping bars and deep black swirls of dry-cracked and electrically “webbed” blotches, giving way to mixtures of bright blue and deep black sweeps of almost hieroglyphic forms midst swirls of multiple colors played against fleeting blacks evolving into multiple shapes in contrasting brilliant hues. (Stan Brakhage)