P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan Fisher" in which he describes the film "()." "Fisher's most recent film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena:...
Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his nostrils while a mouth-guard that looks like fake lips covers his mouth. Over the course of 11 minutes he masks his face and covers his hands with...
This timeless experimental film draws on the work of 17th century scientist Robert Boyle to present a varied combination of texts, objects, colours and textures. The traditional tone of the cinematic impressions takes us back into the past (evocations of Boyle’s era, projection using damaged film...
A girl appears in an empty room only in the presence of a mirror, she looks at it and finds herself covered in blood, meanwhile her real body is normal. She touches the mirror and everything changes.
Naturalness willfully corrupted by inevitable self-consciousness, unwittingly corrupted by unavoidable naturalness, a role played with incredible nuance and complexity by Maurine Connor. Preserved by the Academy Film Archive in 2007.
A painter and model journey through time and space in a 1989 Mercedes Benz 300E. Attempting to paint the perfect portrait, their relationship and reality is stretched to the limit.
Machines can only function with a human who operates. It is an inseparable relationship where the two often overlap—machines malfunction, humans malfunction. Machines are machines; humans can be machines.
