Produced almost entirely at Experimental Television Center (ETC), the video uses a simple animation of a rotating rectangle (produced in Deluxe Paint on the Amiga Computer) as a stencil into which are keyed various versions of a processed live image of the river outside the window at ETC. This was my second attempt at a multi channel piece. The four programs have been shown in grid’s of twelve and sixteen monitors. While relatively simple in structure and shown only three times, this remains a personal favorite.
This first 16mm film made after graduate school, and also my last. Coyote Tracks culminates my interest in Semiotics and the exploration of cinema as a linguistic system. Each shot represents a single “pictograph” in a sentence describing a narrative journey. Shot in New Mexico and featuring a cast of old friends.
An early experiment with time based correction and the ability to mix two tapes together, as well as one of the few projects in which I worked with an online editor who operated the controls at my direction. This tape features two versions of the same image (shot in Santa Fe) slightly staggered in time and then wiped over each other. Edited at Eve Muir studio by Trevor Long. I was paying for the studio time to edit a project for LANL and was able to squeeze extra time in to edit two videos, this one and San Mateo Drive.
My reaction to the Gulf War and the continuing transformation of war coverage into media spectacle. Edited at PPG and an early exploration of the Ampex ADO-1000 Digital Video Effects unit.
A meditation/celebration of the Spaghetti Western and the pornography of violence. An homage to Sergio Leone and Ennio Morricone. Copies of scenes from the original films, rented on VHS, were edited into a compilation reel. That material was processed at ETC, where Scott Davenport also added the text layer. Several versions of that were edited at PPG in an additive process, A+B=1 C+D=2, then 1+2= X, to create a ‘’final” hour-long version. The shorter “ sit down version was then created from that material.
A collection of images and sounds from television cop shows is interwoven with texts (selected by Scott Davenport) taken from pulp detective stories, the literary predecessor of the same genre.
A mostly formal exercise in composition and image processing, using footage of water. Probably the first in a ongoing series of works dealing with landscape, investigating the idea of video as a contemplative viewing experience akin to painting. Filmed in California and Mexico, Developed over the course of two visits to ETC, Final editing at PPG onto 1” open reel tape.
My first multi channel work for synchronized video streams. The piece starts in Cape Cod and moves gradually across the North American continent, ending at the Pacific Ocean. There is no attempt to cover all this of ground in any compete way - the work is an assembly of the places I traveled to and landscapes I admired during the four-year period in which I collected the material. All the scenes were shot with a single camera, then staggered in editing to create the appearance of a continuous shot. During filming I would pan, pause, and then move again, resulting in a series of staggered movements in which the different screens appear to drift in and out of synchronization. Installed at El Camino Medical Center in Mountain View, California.
Collaboration with Poet/Performer Enrique Aviles. This video has its origins as a part of the “video set” for a performance by Aviles, directed by Davis Chung. In the theatrical piece Aviles played the roles of two immigrants to the US (one Mexican and one Korean) who live on opposite sides of a rooming house in the Adams Morgan neighborhood in DC. Subsequently, Aviles and I decided to create a stand alone video using one of his poems. The original footage of the neighborhood was supplemented with images of graffiti he produced and a shot of him reciting the poem in the backyard of his house in Arlington, VA.
Performance organized in conjunction with Passages, my one-person show at the Weston Art Gallery in Cincinnati.
Suzanna Barnes (violin)
Regan Brown (winds & autoharp)
Zach Larabee (percussion)
David McDonnell (electronics & horns)
Loraine Wible (images)
Charles Woodman (images)
