Frequency Objects

Time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations”.

"It shows my interest in materials, medium, and apparatus of cinema. The sound will be produced from the visual on the optical soundtrack – for some parts, I used a 35mm still camera to expose the soundtrack area, and I scratched off the film emulsion directly for other parts. This is my senior thesis project at Binghamton University, and Julie Murray was my advisor." (Tomonari Nishikawa)

Tr'Cheot'My P'y is a hiccuping audio news segment to which footage from many sources is loosely choreographed. The film is intended as a portrait of the body and embodiment, systems of information and representations of the body itself.

Various reels of found 35mm movie film are pulled over a light box under the fixed gaze of video capture. Through veils of apparent motion, the movements of characters can be discerned and their motivations artfully speculated upon. An oblique tribute to Pere Portabella's Vampir-Cuadecuc, narrative and plot in UNTITLED (TIME) are progressively subsumed in a switching and swaying abstraction to percussion rhythms crashed out on cymbals.

A cardboard box with a pinhole in one end and a sheet of vellum on the backside, so that the sun fluttering among the trees is projected onto it. This moving image edit is derived from about 4 or 5 takes on the day venus was to cross the sun's path. As it turned out I got the day wrong, but it wouldn't have mattered as the image that formed on the vellum was so soft and wispish and the trees were in the way that there was no chance whatsoever venus could be seen passing by.

IN AN EYE/EAR DUET, MOVEMENTS AND CUTS IN THE IMAGE ARE IN CONTRAPUNTAL MOMENTUM, FIRST WITH SATIE’S DANCE DE TRAVERS AND THEN WITH TWITTERING BIRDS AND BEES IN A FIELD.

A liebestod from the secret life of slugs.

The most striking thing about observing Niagara Falls is that they don’t seem to be falling at all. Being so vast they give the impression of doing just the opposite. This idea comes to mind and the body to feel elevated and rotated with its force. Like as ‘look’ is to ‘leap’, naming this portrait of Niagara’s water-ous site, “Fl.oz” is descriptive by way of a metaphoric matrix of bubbly spit volleyed from the tip of the tongue to contribute to all the world’s great oceans in a barrel-suited outfit of onomatopoeic humor, is an attempt to allude to all that is other than looking that has to do with apprehension.

Microfilm model airplanes and their people.

A 16 mm. experimental film.

Otherrehto is a short digital video construct of re-agitated film frames of a roiling rorschach set to the rhythm of the rolling text of a small excerpt from S.T. Coleridge's “night-conversations” in which he speculates upon the “force of suppressed Instincts stirring in the heart & bodily frame” of St. Theresa of Avila. All unfurling to voices risen in praise and the tuneful glissando of a record grinding to halt.

The enormous carcass of the Michigan Theatre, a ruin among ruins, now serves as an inner-city car park and home for ghosts.

In this montage a melding of camera original and found material hints at a realization which is evident only in the fissures of splintered associations. Obscured among visceral absurdities and lightweight witticisms there seeps a viscera, an acrid recollection, coiled in the intangibles of puzzled shadows.

Cyan is assembled from numerous 16mm film workshops. Some of the footage is found, most is made, much of it filmed by participants themselves. Accumulated between 2004 and 2014.

Convolves the aberrations found within two image-making technologies; film and video, which here combine to produce a heap of dichotomies and forensic textures of process, like human imprints in sand.

A duet of found film material and video. The 35mm movie film image is unraveled without a shutter and filtered through video capture electronics. Still recognizable, although hazy and drifting in soft pink abstracts, figures in character emerge and fade, passing through the American desert landscape like phantoms.