Madison Brookshire

Hand-painted frames that oscillate between red and blue. Alongside the frames emptied of figuration, the relentless tones of Revenant form a wall of sound, an intense viewing and listening experience.

A 16mm film made entirely at the lab using the timing lights of the printing process. The image is simply a flat field of color, a deep purplish gray, unchanging except for minor variations of film grain, chemistry, and dust (as such, it does not readily translate to video and does not have an online preview). The color extends to the area that the projector interprets as sound, creating a soft, pink noise.

Two is mostly dark; the film is unexposed except for two flares that articulate the darkness. The color extends to the soundtrack area of the film, producing a soft noise that changes slightly at the moments the film flares.

Paintings collide to produce panels of time distended with space, set to music by Tashi Wada. While the score is spare, the image is excessive, the meter working with and against the imagery. The picture is made from paint-soaked 16mm film strips, reinterpreted with a digital camera, edited to cycle in short, hallucinatory loops, forming abstract thaumatropes.

A hand-made, paint soaked film, allowing evaporation, dust, crystallization, mold, and more to inform the image. Film strips— stained over days, weeks, and months with acrylic paint, ink, urine, termite droppings, etc.—are soaked in paint and saturated with time, resulting in a turbulent palimpsest with many layers and textures visible at once, each one moving with its own rhythm. There is an affective quality to the excesses of the imagery that is both repetitive and ecstatic, yet the overall experience is quiet and reflective.

Color Series was made by providing the film laboratory with six written scores that directed the film timer to change the printing lights from "Red" to "Green" to "Blue." The result is a series of slow fades from one colour to the next, which, not unlike the experience of a sunrise, immerses the viewer in the perceptual phenomenon of gradual change. As Brookshire writes, "The subject of the work is duration, and color is the medium through which we experience it. The converse is also true: the subject is color and duration is the medium. The effect is a direct experience of time and vision."

Two rolls. Two flares.