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An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
Prelude 14 begins in deep brilliant red which darkens into deeper reds and lavender shapes, disrupted by a variety of colors settling into browns and grays and shapes most rock-like, all of which is then shot-thru with sufficient yellow to break up all hard-edge form and give a molten aspect to the mixtures of shapes.
A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The figure vanishes and the process begins again with a new pattern, each cycle lasting one or two seconds. The complete figures are drawn in a vaguely Art Deco style and could be said to resemble any number of things, an ear, a harp, panpipes, a grand piano with trombones, and so on, only highly stylized. The tone is playful and hypnotic.
A stop-motion animation compiled of postcards, photographs and video shot on the Spanish island of Mallorca. This unique island has a long and complex history of natural and human evolution, and is remarkable for its blend of rustic farmland, chic resorts, and grimy low-budget tourism - heavily dependent on British and German vacationers. This work represents the island through the centuries, chronicling its changes and equally temporary visitations. These changes include the impact of mass tourism and natural alterations, such as the common brush fires and the invasive Asian Palm Weevil that has been decimating the palms— icons of beach vacations.
Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre.
This piece represents a kind of autobiographical vision. I use myself to create all the figures, sometimes employing masks from the Noh theater to vary my persona. A sea of richly colored figures floating and flying are accompanied by eerie sounds. The animated figures are constructed in the manner of puppetry and collage. The imagery continues until the artist's involvement with her "canvases" is revealed, with her performative self finally emerging.
Presenting a woman, a female statue, a breathing tree, and a fish out of water, an unorthodox love story unfolds with the growth of limbs and expressive gestures. Accompanied by desire discovered and lost, erotic femininity disfigured in a domestic space, and physical forms fragmented, two women steep in their reticent intimacy.
