Director
Seven images, each staging their own disappearance.
Director
Some images of the landscape and the spaces that house them. "Every single entity contains an adumbration or landskip of the whole Universe" (Jan Baptist van Helmont, 1650). Images becoming life—life becoming images.
the franklinia flower, now extinct in the wild, appears here as a printed image (a drawing from 1782) pinned against a kitchen wall. hand and figure move disjointedly. the light of day gives way to electricity, to darkness, and to morning. recorded on a video camera built in 2002: an obsolete image tracing some accidental gestures and capturing a form of life existent only in cultivation. some fragments of vermeer, general electric, and chiquita brands international.
Director
the franklinia flower, now extinct in the wild, appears here as a printed image (a drawing from 1782) pinned against a kitchen wall. hand and figure move disjointedly. the light of day gives way to electricity, to darkness, and to morning. recorded on a video camera built in 2002: an obsolete image tracing some accidental gestures and capturing a form of life existent only in cultivation. some fragments of vermeer, general electric, and chiquita brands international.
Director
The landscape here is an assemblage of fragments—of disjuncts. Some vain repetitions as the season changes and a cloud passes by. "We are expected to rejoice in darkness, and triumph in mutability; to lay the foundation of happiness in things which momentarily change or fade; and to expect the utmost satisfaction and instruction from what it is impossible to arrest, and difficult to apprehend”
-John Ruskin, 1856
Sound
Set at an artificial reservoir in North Carolina, RESERVOIR (SEVEN FRAGMENTS) is a meditation on the unnatural histories of the American environment. The film approaches both the cinematic image and the landscape it captures as damaged, estranged things—things adrift in a world of irreparable discord.
Director
Set at an artificial reservoir in North Carolina, RESERVOIR (SEVEN FRAGMENTS) is a meditation on the unnatural histories of the American environment. The film approaches both the cinematic image and the landscape it captures as damaged, estranged things—things adrift in a world of irreparable discord.
Director
“All that which in Picture is not of the body or argument thereof is Landskip, Parergon, or By-work” (Thomas Blount, Glossographia, 1656).
