Blink

Voice-over (by Fleming's partner, Zack Stiglicz) combines narrative fragments about a solitary woman and excerpts from books on psychology to create a sense of everyday melancholy

A flickering interweaving of abstract imagery, homoerotic performance, text, and motifs of metaphysics and death.

16mm film by Zack Stiglicz

Zack Stiglicz collage film

A ‘hieroglyphic remembrance’ of desire for love, exploring heterosexual desire amidst the Fever Zone of homoerotic mysteries and narcissistic compulsion.(…)

Zack Stiglicz film from 1991

Abstract imagery and shots of bodies and faces flicker with poetic voiceover text that meditates on death, memory, dreams and history.

Experimental investigations and transformations of porn, including self as porn-mechanism. 'The Sexual Economy of Risk' partly visualizes reflections of Slavoj Zizek (from On Belief): '...the passage from animal copulation to properly human sexuality affects the human animal in such a way that it causes the human animal's radical self-withdrawal, so that the zero-level of human sexuality is not the 'straight' sexual intercourse, but the solitary act of masturbation sustained by fantasizing ---the passage from this self-immersion to involvement with an Other, to finding pleasure in the Other's body is by no means 'natural', it involved a series of traumatic cuts, leaps and inventive improvistaions...' -Slavoj Zizek.

16mm film by Zack Stiglicz

"In God the Pugilist—The 13th Protocol Stiglicz animates cutouts from a painting of Adam and Eve amid the Mayan ruins of Chichen Itza; his commentary is as puzzling as his attempt to join European and Mesoamerican imagery, which is interesting for its over-the-top weirdness alone." - Fred Camper

16mm film by Zack Stiglicz

Video collage of text and imagery exploring alienation, strangeness, homoerotics, resistance, and death.

‘The subversive power of this piece remains central to this seemingly lyrical visual study of the 1990 Gay Pride Procession in Chicago. Motion is slowed, image is inverted so we are actually watching a high contrast negative (you’ve never seen colours like this). The beauty of the visuals is striking as is the classical intentionality of the Speech of Aristophanes from Plato’s Symposium.’ – Shellie Fleming