It was after midnight on a Tuesday in October, and we lived in Maine. The house phone rang, and I answered. The call wasn’t for me. It was meant for my father. The call was from the Jackson County, Mississippi sheriff’s department. They told him (me) that my brother, Daniel, had been found dead.
I hung up the phone. Ran downstairs. And told my mom.
The loss of memories has nothing to do with the memories I can recall, and as a result of my brother’s death I lost a lot of memories. This impermanence of our own memories acts upon the temporary physicality, and semi-permanent visual content of this piece. The purpose of each image is to recreate memories of mine that occurred before and after his death, allowing me the ability to preserve recollections more tangibly through creation and documentation. The structure itself acts as an ephemeral ‘nonument’ that invites the audience to lay with, around and about it while it is still in one piece, providing both a final and provisional resting space.
Using the Soviet film, The Target is Your Brain (1984) and it’s accompanying english subtitles this film speaks to the cyclical nature of history and the acceleration of how we receive, process, and create information. Thanks to the expansion of technology fueled mass media, we’re left with no time to digest information. Rather than reflecting on the news, we’re faced with content that emphasizes action over thought. There are no longer moments of contemplation. As history’s cycle continues, the surplus of information makes the circles smaller. The circle’s speed up, and with each acceleration, our memories diminish. We have lost the ability to retain any value of these tragedies and have thereby lost any attempt to learn from them. The choice to use found footage allows for the freedom of exploration into American culture untainted by western viewpoints and the manipulation of American media.
Portland Unknown Film Festival Official Selection 2018
Designed as a rhythmic breakdown of specific and repeated movement, this piece uses the notion of smaller, framed spaces as an area of self reflection and creation despite it's lack of intimacy, and the uncomfortable nature of attempted performance. This was created as part of a series for Instagram.
Afterthought combines old applications of sound and image, with the newer use of Super 8 film as a medium in my practice. Visually focusing on areas from my past, and using audio from pieces I've made previously ("I Don't Know How Y'all See it"), Afterthought represents a combination of the old and new, while pushing towards my own comfort in the creation of the piece. This was created as part of a series for Instagram.
In utilizing the act of hand processing film, and the fragility of celluloid film as a whole, Silken Love, Satin Getaway portrays the everyday as an emotional blur of rough and distant memories as they take place in real time. The decisive lack of focus or clarity of image represents the small fragments of memories preserved, all while the larger, overarching memories of an individual hold on tightly. This was created as part of a series for Instagram.
Contrasting winters are the background for reoccurring daydreams. The acceptance of both physical and emotional distance is warmed by the nostalgic feelings of one last day together and the momentary bliss it held.
By taking a space of 'non-living' and giving it physical and creative occupation, we set out to poke fun at the notion of what a 'Living Room' is. In taking inspiration for recreation of the audio used in [Adult Swim] broadcasting, and quickly improvising a space of living through implied and actualized larger household appliances. Wanting to create the freshly moved in feel of a new apartment. By matting out and duplicating bodies, we wanted to represent time in an occupied space by two people, whether they are together in those moments or not. Oh, and we couldn't leave out the electricity bill.
This piece was created as a character study of myself, and a reflection of the past 4 years (2011-2015). Using Ol' Dirty Bastard's impromptu Grammys speech as an exterior representation of myself that acts as the skull of the piece. The middle acts as the 'brain' and goes through my present thoughts of my memory and subconscious. This serves as representation to the places and things I've done and have been in my film work, whether visually, aesthetically, rhythmically or physically, and shows a sense of growth in my work by moving chronologically through these places I've been. The film physically acts as an entry into and out of my mind, front to back.
Dwelling in the raw emotions of hatred, suffering, violence, and physical desire towards others, Your Visceral Exoteric showcases these feelings and the act of suppressing them through physical activity, while making these ideas and the body that holds them presentable and acceptable to the general public as a whole. Playing with the thin line that can exist between properly regulated emotions, and full mental breakdowns.
Ambiversion is the intermediate between extroversion and introversion, and the way it is represented in this film is through the use of words and language as it relates to the general public. Visual and spoken language contains meaning to everyone, regardless of whether we understand that language or not. Making language of any form (be it verbal, physical, etc.) something that is never truly extroverted or introverted, as well as making our relationship to languages and words ambiverted.