Jordan James Kaye

The material and mechanics which form the aftermath of the moments before and during the making of the film itself.

There is no one way of seeing anything. Everything must reflect on itself. Time is not linear nor is the way we perceive anything.

Maya Irving paints a large mural with intuitive embodied mark-making, unlocking deep emotions trapped within the physical body.

A meditation on time and the human desire to analyse each individual moment, some merely passing by and some engrained in our memories forever. Unravelling the connection and juxtaposition between human perception and the relationship it holds to anything.

Lucille Bone moves with her body and her mind to understand how our body exists in this world. “When we look inward— Past the blindness we wear— We begin to unbind the heart, To loosen the hold of what was never ours to carry. To become the feather, We must first meet the weight.”

A short film by Jordan James Kaye

16mm film by Jordan James Kaye

Recomposing Decomposition is a process driven antagonised 16mm self portraiture experimental film of losing yourself via means unbeknown, nor mattered, to find yourself. Exposed on 70+ year old black and white film. When you know you’ve completely sunken into a decomposition of yourself…. What’s next? An unformed, un-met, mis-understood version of yourself, goo, dumb, cracking and falling from your feet? No. Repetition reaps and cyclicity spells life. Recomposing Decomposition is the protagonist to the compost heap. Ebb thus flow.

In a dark room. A flickering light. Your fingerprints marry to your hands. You look out a window. Mind spinning on the floorboards. A fire place hotter than a 1000 watt light bulb warms you. For weeks you wait for the sun to appear and it does. It always does.

Debil Debil Baldwin Spencer is inspired by Jason Tamiru, a proud Yorta Yorta man and the Melbourne School of Design’s Indigenous Cultural Advisor, and his profound experience upon first entering the Walter Baldwin Spencer Lecture Theatre, located on the University of Melbourne’s grounds. Drawing on Spencer’s controversial legacy as an evolutionary biologist whose work influenced the Stolen Generation policy, the film seeks to decolonize the space and reimagine its significance.
 Walter Baldwin Spencer’s legacy is etched into the institution through the building and his ideology lingers in unsettling ways beyond the foundational bricks and mortar of the building itself. The film is made through a sensitive observational and experimental documentary style lens which aims to translate the weight of his experience into an evocative and deeply immersive form.

The external self turns inside out. Revealing the quiet decay of the naked inner self. It tumbles further into the void of it’s own memory.