A film eroticized by prolonged baths in silver salts. Complete exposure of reclining bodies and their lascivious perambulations. Licentious characters in incestuous copulations of carnal metamorphoses and abnormal couplings. The transformations of their bodies in totemic visualizations of a...
A reflection on the material, on the filmic support. Strips of figures wander, fluxuate in the whirling kinetic rhythms imposed on them. These faces, these dispersed shattered bodies result from contacts (this is where they "touch") made by old photographic plates and anonymous fragments of film;...
A film that has chosen as its protagonist its own negative and will remain committed to that choice until the very end. More precisely, nearly positive, or rather, not all negative, it detains two characters in constant solitude afflicting them with visions and apparitions of the epoch of man and...
I have several English style windows and this and a tree in winter have caused me to think about Fox-Talbot’s window—his first image, perhaps. Carried out, as usual, with the technique—but perhaps it would be better to say the discipline—of the flicker, which is, “the undulation,...
Realized on the occasion of one of my photographic exhibitions of the same title dedicated to the Etruscans of Volterra. I intended to bring alive the funerary faces on sarcophagi, that, curiously, in shape resembled tv sets. I shot faces in color of living acquaintances in order to superimpose...
"Duchamp is certainly as complex as Joyce and to do something about him, I tried to dedicate to him this small film poem, using only a few images of images of his work, taken always from books and catalogues (that are made of typographic ink). For example, blackening in the spokes of a wheel,...
Feminine undergarments placed over a wooden tablet around which a film, itself impure, has been wound. Dissolving sexual fragments emerge. Whirling woven textures wrap around them.
"Faces and figures found on reels of film by an unknown artist from the first few years of the 20th century. I fed the images through what was probably his own movie camera that I had purchased in Rome in 1972. The frames appeared vertically and horizontally, individually and in short sequences and...
This digital video arose from the idea of trying to transfer to film all the photographic images I had created with the so-called “photo-finish” technique.
Strains of Wagner's Das Rheingold and African tribal ululations collide with bi-/tri-sected television footage while negative-positive visuals smash heedlessly into their mirror images, an unbounded series of “meaningful” artistic fender-benders that amount to little of resonant substance.
Traumatografo is a film, the principal purpose of which is to comfort those who fear death by the gallows or scaffold. It is divided into three parts: in the first, slaughter by automobile is shown; in the third, by military engagements; in the center section children pantomime syncopated movements...
It all started with the notorious Buñuelian sliced eyeball, that surprises us every time. The eye of an ox, but still it's the eye of a woman! The anxiety of the incision is transformed into a saccadic, uncontrolled anxiety precisely of the eye and of its pupil. When subjected to the stroboscopic...
This digital video arose from the idea of trying to transfer to film all the photographic images I had created with the so-called “photo-finish” technique. While in the process of completing it, I used single frame digital animation to shoot the faces and their sudden transformations when...
A reflection on the material, on the filmic support. Strips of figures wander, fluxuate in the whirling kinetic rhythms imposed on them. These faces, these dispersed shattered bodies result from contacts (this is where they "touch") made by old photographic plates and anonymous fragments of film;...
Cinematic flicker: flicker is introduced into the flutter of butterflies shot from small books. My intention was, here as elsewhere, to animate what is inexorably locked up in the fixity of typographic ink in a book. In this attempt, I brought into play the rhythm of some erotic film images, making...
This film was shot a frame at the time using laborious extreme optical close-ups. Anonimatograph: the reanimated image of an unknown amateur at the beginning of the century who becomes middle class as he focuses on friends, movie camera in hand, indoors and outdoors surrounded by war and by his...
This film is an accumulation of semi-stroboscopic figures with features invisible to the eye, that remain in the human cerebral cortex located at the top of the brain. Nature and people are compressed and disturbed by geometric forms that struggle among themselves stroboscopically, appearing flat...
It is known that Muybridge was at the same time a great photographer and a killer, executioner of his wife’s lover and that into his own station physiologique (to use Marey’s term for his own working laboratory), it seems, not a single black man ever entered. Female servants, the unemployed,...
It is well known that the disposition of the images drawn by Escher are neither for animation nor for pre-animation; actually, quite the opposite. His images appear to be the carrying out of metamorphic dissolves. A bird gives way to the recognition of a house, which turns into fish, which turns...
