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...
Described as "a collection of 'windows' on a personal past" "Time's Wake (Once Removed)" incorporates material from an earlier version. On the earlier version: made from material I collected through the years when I went back to visit my parents at L'Ile d'Orleans, Quebec. It includes both home...
"'Shade' is a near exhaustion of the possibilities between camera (aperture, focus) and nature (sun, wind). It is a beautiful study-poem on the undying presence that renders the world perceptually. In this minimal area, the variations are pursued with quiet doggedness, each frame revealing the...
A boy’s phantasmagoric world of heroes is captured in layers of light and hues. This video, humorously and poetically juggles ideas about make believe and representation of the everyday.
This video was originally shot in Hi 8 on a winter day in 1992, the last day Ithacans could have their dry garbage and cast-offs hauled away for free by the city of Ithaca. Huge piles of debris and broken household items had accumulated on curbsides throughout the city, awaiting disposal. Then it...
A video portrait of my friend, Susan Weisser and of her rapport with 13 year old son Billy and seventeen year old daughter Amanda. The video, divided in two sections used as a premise the reconstruction of her daily rituals with first the son and then the daughter. Enactments, accounts, confidences...
"'Window Wind Chimes' explores in semi-documentary manner the interrelationship between Vincent Grenier and his wife Ann Knutson in the environment of their San Francisco apartment. Conversations between them consist of fragments of arguments, apologies, affections and distillations of the personal...
Changes of spatial relationships, scales, locations, and materials are intimated with recognisable clues which nevertheless do not always eliminate the former understanding of the images. These and other levels of ambiguity are instilled, which shake the photographic image’s authority as a...
Changes of directions, in the wind, the edges, the shapes, a joyous and mesmerizing intrigue. Perhaps an other way to put it is to describe this piece as a humorous digital cine take on the long cultural history of the lessons left by the great Chinese painters of the 13th century for whom shapes...
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...
Burning Bush is made from a series of mid fall shots of a bright "digital" red euonymus both in real time and with video time lapses. Much of the ideas for the piece emerged during post-production. The Euonymus mid fall "natural" leaves are startling, their colors are so saturated as to appear...
The Upper West Side has some of the tallest brick apartment buildings in NYC. The orderly but deserted and aging concrete courtyards, their metal stairs and shafts, register a dramatically changing atmosphere. This is a cinema that seeks to observe, obscure, shorten and protract, and redefine,...
In D'APRES MEG, small hand gestures are microscopically observed in their everyday context, a garden conversation, a construction site, a gallery setting. By taking our common peripheral vision of events seriously, Grenier produces an evocative enigma. From these images and bits of conversations,...
Distinct fields on the same screen, foreground each other, invite comparisons, between different times and spaces, and the constructed and natural processes that inescapably defines us thru textures and emotional spaces. Commute does refer to regular travels between one place and an other, but also...
In “World in Focus,” the screen becomes the two-dimensional support of an amazingly versatile three-dimensional object (an atlas) which contains in turn two-dimensional pictures of other three-dimensional objects. The uniform use of a close-up lens creates often ambiguous or nearly...
