Date of Submission

Spring 2016

Academic Programs and Concentrations

Film and Electronic Arts

Project Advisor 1

Ed Halter

Abstract/Artist's Statement

Film never really dies. Much in the way that moving image art absorbed the endeavors of painting, music, poetry, and photography that came before it, properties of film have been folded into the successive technologies of video, and the personal computer. These consecutive tools of image production form a broad corpus of human expression that we might call cinema, the connective tissue of which is precisely the permeable boundaries between them--a push and pull across time and material whereby each is the interlude to the next. Cinema as it appears in my show, expanded, experimental, essayistic, etc. is not the result of a single technology of image production but inhabits these interludes where Photochemical filmmaking, high and low-resolution photography, found web artifacts, Hollywood films, the computer generated imagery of video games, and the material detritus of mass media form the basis of the films, videos, installations, and objects on display in my show. In one video, Tom Cruise reprises some of his most famous roles while fluidly switching between being a series of images and being the artist creating them; we watch as he fights for purchase in a competitive art market as well as in the streams of our memory. In a similar vein, stock images have been printed across grids of DVD cases as a young filmmaker attempts to leverage his mostly immaterial practice into the conscious production of objects on the eve of his first solo show. Low to the ground, a custom DVD logo roams across an array of synced monitors, being slowly swallowed by the celluloid images which birthed it. A video installation housed in a dark corridor utilizes projection mapping to forcibly break the illusions of cinema’s sound-image relationships. In a final single-channel video, representations and simulations of some of America’s landmarks play off each other to non-hierarchically sketch out the continuum of image production and the legacy of the indexical project. Embodying the contradictions and compromises of cinema today and the places in which it appears, ‘Interludes’ is a call to cultivate a material awareness as we begin to approach what might come next.

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