+ otherwise pictures llc

about

Artist’s statement

“We shall require a substantially new way of thinking if mankind is to survive”

—Albert Einstein, as quoted in my film BULLETS FOR BREAKFAST

 

From my earliest solo works in the 70’s I’ve been evolving a unique film language based in a fusion of experimental and documentary sensibilities, often laced with traces of my own biography. I use amateur cameras and IPhone as well as hi-end video, weaving various strands together within the editing phase. Juxtaposition and contrast is my modus operandi, and editing is where my real creative work happens. My film Apple Summer (1974) was shot with a second-hand Bolex, and was edited on a kitchen table with a sync block and a pair of rewinds. Today I’m cutting digitally with an infinite possibility of tracks — re-inventing techniques I explored in my abstract /structural/autobiographical works from the 80’s. Now my laptop screen is my sketchbook, where I magnify, expand and recycle works via the looping, layering, and non-linear structuring that has characterized my work from the start. I consider a project finished only when meditations on the materiality of the image are inseparable from whatever else is the subject at hand.

It is rare that I set out to make a film “about” this or that. Instead, I’m driven to explore some formal or psychological question that intrigues me — like how to sustain a flow of ideas within the broken continuity of non-linear structuring.  Or how to analyze time and motion by exploring the space between one frame and another. Trauma, memory, and perception are issues that come up repeatedly in my work, although it was the extreme conflicts of perspective that initially drew me to work on Burma. It was the mid-nineties, and I wanted to experience through my camera lens and also within the still-new Internet — how globalization was impacting a world increasingly mired in perilous, radical flux. Whether the issue is diabolic human rights abuse, or filmic play with light, shadow, and my own nude body, I will use every sort of maneuver to open space for the viewer to think and imagine — and will subvert every convention of narrative that obscures the possibility for making personal meaning. And whatever is my sleight of hand, my intent is to lead the viewer toward one’s own private insight, metaphor or other deepest reverie.