Alexander Stewart

“…inspired by a brick fort of the same name on the Alabama coast. Following an intricate geometric diagram, the fort grows of its own accord like an oyster shell or a crystal forming, until it is eccentrically shaped, encrusted and overgrown.”

An experimental film that uses a photocopier to generate frames of animation. Each frame of the film is a photocopy of the previous frame. Both black & white and color photocopies were used to make this film, approximately 4,600 copies total.

"Iceland Spar" is a hand-drawn geometric evolution made from 10 drawings used to create full rotation of a set of cubes on three axes. From this set of 10 drawings, all possible movements of cubes were explored.

Precarious and fluid arrangements constantly interrupt one another in a montage of waiting, anticipating, and transitioning forms. Arrangements of marks and geometric forms are faced with unresolved states. Objects struggle to maintain their shape, stay upright, or avoid disappearing. "Crux Film" is an animation composed of segments of work by Lilli Carré and Alexander Stewart. Created over the course of several weeks in shared studio spaces, these simple animated segments developed directly in response to one another; ideas, images, challenges and structures ping-ponging back and forth between the two animator’s light boxes.

"Crusts" combines a searing drone soundtrack with footage of mysterious architectural and natural artifacts. The film evolves from meditations on concrete physical textures to a complete stroboscopic transfiguration of the image. The footage is accompanied by a crushing, hypnotic onslaught of guitar and electronic noise by White/Light.

Peacock by Alexander Stewart deconstructs cinema into a few of its core components through its dazzling manipulation of light, shape, and movement. A feast for both eyes and ears, Stewart’s 16mm film seemingly adopts a referential approach, intentional or not, towards the musical genres of classical and jazz as it muses on the concepts of repetition, pattern, and eventual variation.

Void Vision focuses on a cinematic scenario where the real and the simulated are equally constructions. It presents images to be questioned, as the nature of reality is considered and re-considered in a fever-dream of paranoia and reification.

Here There gives graphic form to memory’s malleable, straying lines. It begins as a traveler’s sketchbook, drawn in Croatia in the summer of 2014, but details soon fade away into abstract impressions on the edges of memory. This film is a reduction to the essence, a condensed feeling of one place and time.