“Eclipsed” is a structured journey through the territory of audio and visual overtones. Colour flows creep up the screen, and are replaced instantaneously by other flows and flares of colour. On the sound track we hear a prepared piano piece, which draws the ear into the intense and elongated space of dense and powerful, yet subtle and ethereal, overtones. “One perception must immediately and directly lead to a further perception” (Charles Olson).
Filter Films
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A graphic and vertiginous portrait of la Place Ville Marie in Montreal, Canada. Originally shot on Super 8 and edited in-camera, blown up to 16mm for exhibition. Selected screenings: Media City Film Festival, 2012 (Windsor, ON); Images Festival, 2012 (Toronto, ON)
La Grande Dame (étude)
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A response to the Fukushima nuclear disaster, “sea series #10” was shot at Beachfront Park near the Pickering nuclear generating station in Ontario, Canada and processed in part with water derived from the lake.
sea series #10
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A hand-processed, black-and-white ode to the secret world of moon jellyfish (Aurelia aurita). “The tide goes in, the tide goes out” revels in the material and chemical qualities of the film medium, with the fragility of the film mirroring that of the jellyfish. Made for 30 x 30: Newly Commissioned FIlms for Thirty Years of LIFT Selected screenings: Images Festival, 2012 (Toronto, ON); Kassel Documentary Film & Video Festival, 2012 (Germany); Jihlava International Documentary Festival, 2012 (Czech Republic); (S8) Mostra Cinema Periférico, 2016 (Spain)
tide goes in, the tide goes out, The
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“Dead Horse Point” is a film that expresses my feelings of ambivalence for the western genre, and America as a nation. It essentially deals with the notion of “the old west,” “the frontier,” the blurred line between historical fact and myth, the role of Hollywood in the historical process, the importance of celebrity in America, and finally the influence that the western landscape has had in defining the mythology of “the old west.”
Dead Horse Point
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“Down Payment on a Dead Horse” begins as a formal portrait of the Saskatchewan winter landscape, and becomes an examination of masculinity (shot on Super 8, 16mm and VHS). Here, I am focused on the inherent innocence that lies within these family images, and I am also drawn to the darker implications of them as well. In contrast, the winter landscapes are meant to be in direct opposition to the lush color, and familiar poses that have become synonymous with old Super 8 “home movies.”
Down Payment on a Dead Horse
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“Hot Under the Collar” is an experimental video that examines the imagery of the Kodak “Shirley” test patterns. An examination of the “male gaze,” the evolution of film and video, and obvious formal considerations constitute the foundation for “Hot Under the Collar”.
Hot Under the Collar
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“Nightfall” is a formal portrait of the Canadian winter landscape, shot on Super 8, VHS, DVCAM, and 16mm.
Nightfall
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“Witchcraft” is an examination of the nostalgic, and darker implications of my family’s Super 8 “home movies.” It is an extension of an earlier work, “Down Payment on a Dead Horse,” which is rooted in a quote from Ernest Hemmingway – “All things truly wicked start from an innocence.”
Witchcraft
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“Dark Horse Candidate” is a time-based project that is intended to be a portrait of one specific location over the course of one full year. One shot per day was selected in the editing process (365 shots in total), and each one appears in sequence according to the calendar year.
Dark Horse Candidate
