Hand/Water

An experimental documentary that looks at its subject John Cage through the eyes of contemporary Avante-Garde artists as well as those who play his music.

The filmmaker intersects the flow of traffic on narrow streets and on the canals of a European city.

A naked man jumps off the deep end from a diving board into a surrealist watery world of fish and cellar stairs.

Cultural and perceptual contrasts are evoked in this non-linear mythic episode in which a hammer, a paintbrush, a bucket, a pile of clothes, a window full of globes and a couple are manipulated via the filmmaker/demi-urge.

Juxtaposition and editing are used in this meditation on the human/environmental act of skating and its component parts.

Using the accoutrements of baseball, Sherman analyzes the magic of tv/film representation and offers a pun on the word "catch." "The camera catches the image, just as a baseball player catches the ball."

Through "solipsistic, demiurgic actions," Sherman leaves his imprint on the theater world. He sits in a seat in the audience, occupies a chair onstage and stands at the door of the theater. Becoming transparent, he leaves his trace everywhere.

Sherman creates an elegant, graphically precise choreographed dance from the rhythmic, symmetrical movements of two elevators, two escalators and their two riders (a man and a woman) tethered to the aural image of an imposing jukebox.

Sherman underscores the oppositional component of the board game with split screen techniques and evocative black and white graphics.