Shot in the Sonora desert, Mexico in March 2017 “Desert Spring” is a joyful little dance between camera (autofocus), the wind and some flowering foliage I found high on the shady side of a mountain. There is hope in this movie; hope prompted in part by the surprize of finding such a delicate beauty in the midst of such harsh climatic conditions. The movie is intimate in it’s close up …
Shot with my I Phone on the day I resigned my position at Simon Fraser University. The sound of the ferry boat engines synchronize with the camera vibrations as Vancouver recedes into the distance. The car ferry as special effects generator as the present becomes the past.
An attempt to describe the impossible. The dying embers of a fire are seen dancing to the tune of some new and unexpected feelings.
Location: The ruins of the Hotel Bahia de Tenicatita, La Manzanilla, Jalisco, Mexico The only thing that is constant is change: Heraclitus AD 530 -470 Whilst the political intrigue, violence and corruption that led to the building and subsequent destruction the Hotel Behia de Tenicatita was a disastrous chapter of local history , I suggest, that this regrettable history is not so very unusual. Surely it can be argued that …
The camera was pointed at right angles across a busy park pathway connecting one part of the city to another. On the other side of the path are many trees receding into the distance. Many people move through the picture, both on and off the pathway. One frame was taken each time a person on the pathway moved into the picture and one frame was taken again as they moved …
One frame was taken every ten seconds throughout the hours of daylight. The camera was mounted on an equatorial stand, which is a piece of equipment used by astronomers to track the stars. In order to remain stationary in relation to the star field, the mounting is aligned with the Earth’s axis and rotates about its own axis once every 24 hours. Rotating at the same speed as the Earth, …
“The disquieting feeling is that nature is being interrupted or frozen for no apparent reason.” Fred Camper on Skylight in the Chicago Reader, 2001 An idyllic river flows through a forest, flashes of light and colour threaten to erase the image, bursts of short wave radio and static invade the tranquility of the natural sound. The camera searches amongst the craggy rocks and ruined buildings of a bleak and windswept …
This film is a continuous, “real time” tracking shot of a stream bed. The length of the track was ten yards. The camera was suspended in a motorized carriage running on steel cables three feet above the water surface. The camera pointed vertically downwards recording the contours of the stream bed and the flow of water along its course. The sound of the water was recorded synchronously from the moving …
“The varying speeds of the blades presents the spectator with varying perceptual data which require different approaches to the image.When moving slowly, they [heighten] the sense of deep space. At moderate speed, they act as an extra shutter, which fragments “normal” motion, emphasizing movement within the deeper plane, and critiquing the notion of “normality” in cinematic motion. When moving quite fast, the blades act as abstract images superimposed on the …
