La Salle Hotel

In Ancient Times, the classic hero returned home and was rewarded with Glory. Nowadays, a trap awaits the returning hero: he is convinced failure is unavoidable.

A film about the mythical and mysterious cataclysm which befalls mankind on December 21st, 2012 and what happens next. Centered around 4 characters, each with a back story of what their life was like before it all came crashing down, the film depicts life for these characters as they struggle for survival and strive to discover the cause of the end of civilization as we presently know it.

"I broke my hand last summer." A memoir of tenderness hazarded, muted ache, and a fibreglass cast.

C+M, for YK. Subtractive colour blending is used in an attempt to conjure Yves Klein's 'L'accord bleu (RE 10)', 1960. The limitations imposed by media and technology ensure that my perfect pigment never is, and that what is produced is ephemeral, declarative, and reverent of the impure. Laser printed onto recycled 16mm film in 2014.

An ancient ancestor to the modern Hollywood soundtrack. Laser printed loop; 16mm, optical sound; 2012

Can an experimental animator follow contemporary Hollywood logic? New ideas are out of fashion; everything's a trilogy. Laser-printed onto recycled 16mm film in 2015, Dingbat's Revenge is a coded, stroboscopic manifesto pitched somewhere between abstraction and representation. "Can you feel that? We're done here. Move out of the way or I'm gonna run you over." - Tony Stark.

Ink is lifted directly from the page in a physical adaptation of Victorian Frames, Borders, and Cuts, published by the Dover Pictorial Archive; a study in embellishment from the 1882 type catalog of George Bruce's Son and Company.

"He wrote that Leonard and Robert La Tourneaux actually had a relationship... I didn't know that." A super 8mm film about hustling. Words by Will Brown; for Will Brown.

An ode to a misunderstood font is rendered by laser printing directly onto 16mm film. Made in MS Paint.

Directed by Scott Fitzpatrick.

Four Winnipeg houses as documented by reporter Lillian Gibbons, with illustrations by Arlene Osen.