Stephen Andrews

YOU&i is a film version of a 'pas de deux for one' choreographed for Toronto Dance Theatre's 'Singular Bodies' program. In collaboration with dancer, Jarrett Siddall, the intent is to translate the various interpretations this image into movement. Some of the movement is determined by the autonomic nervous system response to exertion. It is the system that controls our heart and respiratory rates so the movement is driven both mind and body.

The 1st part of the 2nd half is a visual poem wrestling with ideas about love and resurrection.In the artwork’s initial incarnation all of the oversized frames were installed as filmstrips in a room to create the appearance of a giant trim bin that the the editor/viewer entered. The conceit was casting the viewer as a Lilliputian editor of an analog film and requiring of them to piece the ‘film’ together in their minds. In 2015 all the frames were re-shot and animated. There are two versions of the piece.In addition to this version (17:31 minute) gallery version, an additional version is available. It is a 40 minute slowed down version with a soundtrack by Mary Margaret O’Hara recorded live during its inaugural viewing.

The 1st part of the 2nd half is a visual poem wrestling with ideas about love and resurrection.In the artwork’s initial incarnation all of the oversized frames were installed as filmstrips in a room to create the appearance of a giant trim bin that the the editor/viewer entered. The conceit was casting the viewer as a Lilliputian editor of an analog film and requiring of them to piece the ‘film’ together in their minds. In 2015 all the frames were re-shot and animated. There are two versions of the piece.In addition to this version (17:31 minute) gallery version, an additional version is available. It is a 40 minute slowed down version with a soundtrack by Mary Margaret O’Hara recorded live during its inaugural viewing.

Using the Zapruder footage of the Kennedy assassination, the Maysles brothers, 'Gimme Shelter' and a television series opening credit sequence as a conceptual framework 'Dramatis Personae' examines the Black Star Agency's photographic archive during the time of the artist's coming to consciousness in the 1960's. The source material signals the search for meaning in the precise moment the bullet enters Kennedy and leaves the world in shock and as we watch Jagger as he tries to find the instant the knife kills the Woodstock Nation.

'play god' is a meditation on the movements of the shadows in Plato's cave or the TTC, take your pick. It was commissioned for TUFF (Toronto Underground Film Festival) to puzzle commuters on their way to and from work.

A car commercial send up in which Bambi meets Nissan. The question is: who’s who?

A car commercial send up in which Bambi meets Nissan. The question is: who’s who?

An analog animation using the same set of drawings to tell four different versions of the same story. The emotional fallout of two witnesses to a police shooting, a musical about groovy gay boys making the scene, a cop show about the chase and arrest of a suspect, and a news report about soldiers on leave in Iraq.

An analog animation using the same set of drawings to tell four different versions of the same story. The emotional fallout of two witnesses to a police shooting, a musical about groovy gay boys making the scene, a cop show about the chase and arrest of a suspect, and a news report about soldiers on leave in Iraq.

Animation based on a video clip from the Iraq war.

Animation based on a video clip from the Iraq war.

The adventures of a porn potato versus pop ups.

The adventures of a porn potato versus pop ups.

Positive Men begins as a docudrama which illustrates the impact of the AIDS epidemic on gay men in the early 1980s. Memories of New York and San Francisco are the backdrop for seven dramatic scenes which designate the intersection of community support, medical science, and gay politics that emerged in response to the AIDS epidemic. Words and images from these scenes resonate throughout the documentary portraits which follow. The interviews, conducted in Toronto and San Francisco (1993-1994), feature artists, filmmakers, AIDS community workers, writers and volunteers who have made unique contributions within the cultural and community responses to AIDS.