Horizontal Boundaries

"O'Neill found an envelope labeled 'Helen's Coreopsis' with seeds from a 1935 visit his mother had made to her sister in Nebraska. His film COREOPSIS was made by scratching into developed and discarded pieces of film stock revealing pink, yellow and clear layers. This remnant of his memory of her is performed and inscribed in these excised layers." - Erika Suderburg

LAST OF THE PERSIMMONS opens with a black-and-white image of a main inflating helium balloons in the shape of rabbits. Onto this image Mr. O'Neill places two mirror images an old Fleischer-style cartoon elephant comically licking its mouth as if in anticipation of yet another layered image, that of a ripe persimmon. —Manohla Dargis, "In the Studio's Shadow, An Avant-Garde Eye," The New York Times, 11/8/2004

A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover "structural" film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities.

"Muscle Beach is a fascinating location for people-watching in the L.A. area, and in 1963, the strangeness of its sights was much more pronounced than today. Pat O’Neill’s first film (made with Robert Abel) progresses from humorous, curious observation to energetic, graphical interaction with the sights and sounds of Santa Monica’s famed beach." —Mark Toscano. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.

"FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume." - J. Hoberman, The Village Voice

The Ambassador Hotel in Los Angeles serves as the backdrop of Pat O’Neill’s artfully-crafted film. Shot in the classic Hollywood style, the movie follows various mysterious characters as they move through the haunted halls of the hotel, exploring along the way the secrets that are held within.

A reflection between nature and man in Los Angeles about the city's surroundings' desertification due to enormous water consumption.

In this meditative film the everyday lives of poor Ethiopian peasants are shown using documentary as well as storytelling techniques, with its drama arising out of the timeless yet persistent issues of their lives.

Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yardchair, upon which sits The Creator, impassively observing the inexorable flow of His mountains.

Television programming takes it on the chin in this ribald spoof of the networks.

"Bump City is a colour film about the symbolic destruction of Los Angeles. It was never a very finished film, but it was about signs and advertising, redundant communications and manufacturing, waste and monotony." —Pat O'Neill. Preserved by the Academy Film Archive in partnership with Pat O'Neill in 2007.

16mm film installation.

Les Blank's first documentary cinematography job shooting Drag Racers in Long Beach, CA, driving everything from hopped up "Mercs" to Supercharged "Rail Dragsters". These cars could accelerate to over 220 miles/hour in a mile. The film follows the life of Rick "The Iceman" Stewart as he attempts to grab the world's record. Original score by Canned Heat Blues Band.

A short piece of commercial work done by three legendary L.A. artists. This piece was shown on loop projectors in Sears stores to promote an exciting and new young ladies' clothing line. 16mm print preserved by the Academy Film Archive.

Short film portrait using narration and artworks by Pat O’Neill and edited by Martha Colburn.

2017 --- Digital Video --- 5 minutes --- Color --- Sound