I had been looking for someone's unnerving encounter, that conversation that one just couldn't get out of their head, the kind of event that leaves one still debating out loud while walking in the streets or doing one's tidies in the bathroom. After interviewing a few people, I found Lisa Black who...
This film was shot in color but using the Kinemacolor process, a process which was used in 1915 to obtain fairly illusionistic colors from black and white films by filming and projecting them through synchronized red and green filters.
(This film has been referred to as both White Revolved and While Revolved.) Project at 18 fps. This film is concerned with the projected, not just light or the emulsion or the illusion or the projector or the camera, but all of them. The surface of the film, the grain, is remembered when a similar...
Is it happening in the screening room or on the screen; in a snowstorm or inside; what isn't surrounding and what is? From filming Ann sewing, on a grey winter day. Preserved by the Academy Film Archive in 2016.
“PEED INTO THE WIND smears across the screen like one of those dirty underground comic books. It’s loaded with a lot of big scenes and unusual looking people that make this epic resemble a clogged toilet. Unfortunately, since several of the performers were not as loyal as Ainslie Pryor and John...
Material Incidents brings a layered look at the secrets of light's rituals and it’s loose associations with matter, temperature and the senses. Our eyes, our brain’s primary sensors, ultimate arbiters of our sense of reality, well being and even of security, are closely implicated in this...
"The insinuation of camera movements and the familiarity of the same forms recurring in black and then luminous white shapes, makes X an intriguing visual play on positive/negative space. Scale, depth and angle of view are indecipherable. Is it the object or the cameras which moves across the...
Miracle Grow is a personal piece with elements of a home movie. Originally shot in Mini DV, edited and transferred to film without leaving the digital realm, the film is an inventory of a growing baby as he struggles to gain mastery of his limbs. As the father the filmmaker attempts to insert...
Tall buildings and cars are shot through the Kinemacolor process, variable color filters and a water lens. Sturdiness jousts with fragility, past with present, alienation with tenderness, abrasiveness with sensuality, red with green. The camera is moving in the slick of space. Shapes vibrate...
"Revisiting footage he shot more than ten years ago in an American high school, Vincent Grenier combines deftly manipulated and layered images with oblique commentaries delivered by students and instructors. The socializing process of education is made visible in the architecture, surfaces and...
Inspired by dreams and nightmares, Honey Moon Lane unfolds with a series of absurdist entanglements in the heterosexual love life of a man and his loved one. For better or for worst, this film is as engaged in the unraveling of amorous film clichés and fantasies than it is in the spirited creation...
In the playful and hypnotic miniature Moonrise, avant-garde luminary Vincent Grenier sets falling rain and its sweeping pock-filled shadows to an audio collage of DIY foley mimicking the persistent pitter-patter.
A rumination on cinematic time reversals as versatile continuums. Re-discovering the outdoors as (a stage) set where the natural is made to pose as the artifice.
On the corner of Brooktondale Rd and route 79 near Ithaca is an amazing planting of Forget-Me-Nots and Dandelions. An improbable dance between different layers of reality, one organic, the other mechanical, another the numbing everyday. Timeless fragility joust with fleeting enamels and the...
A film about the dynamic of assumptions as seen through the struggle of a gay man who has recently been told that he is HIV positive and who, in his own way, tries to come to terms with the news. The film eschews the usual talking head and focuses on the peculiar occasion for examining anew as...
"Two weather worn red vinyl chairs on an outdoor promontory oriented toward a "view", stand as subjects and witnesses. The chairs themselves provide openings or internal views, into color fields, their standard issue "natural textures" upholstery, oval screens for the light projected through wind...
"Light Shaft" diagonally crosses the screen with a wedged light formation, usually on the diagonal. Its variations are rendered through arrangements of the tripod while panning the camera. Limiting the viewer's attention to a smaller screen, a point in space, allows for a certain confusion as to...
The film is a reaction to the obsession a seven-year-old girl has with her many Barbie Dolls. The world of Barbie is pushed to its innocuous and tragic conclusions. Ann Knutson plays the role of the mother. "Shut Up Barbie" was pixilated in Tiburon, Ca.
A collage more than a diary using images as artifacts that reflect processes. Sounds often come from other rooms, altered by their distance and the spaces that they have come through, just as the images themselves reflect the history of their own alterations. It is also a humorous exploration of...
Water flows under two bridges, or so it may appear. Since the advent of the industrial age, there has been a heated dialogue regarding the relationship between earth's natural environment and manufactured human spaces. Watercolor (Fall Creek) exists between these necessary worlds, as time unfolds...
