Who's Who in "New Boston", 1932-33 2:52 Legend (Edit), 1994 5:06 RESEARCH, 1995 :55 Johnx3, 1995 1:20
When You Love Someone, 2009 Terri Phillips 1:11 In the Middle of the Night... (announcement, collaboration with Terri Phillips 2009 :27 Sun Zoom Spark (announcement w/ music), 2010 :56
Transcript, 2004 4:31 untitled (white light), 2005 2:39 Untitled with Commercial, 2005 6:39 Ground/Glass, 2008 4:25
Sun Rise Sun Set, 1995 :39 On The Horizon, 1999 1:41 untitled (approach), 1999 1:44 untitled (Eaton), 2008 1:19 Pulse, 2010 1:40
untitled (candle), 2009 :59 Revolution, 2010 2:13
I Will Always Love You, (w/ Michael Mahalchick) 2004 3:51 Power Bromeliad, 2009 3:14 Daylight Landscape, 2001 (TRT 9:19) excerpt 3:31 780,000,000 Miles Away, 2009 6:53
Transcript, 2004 TRT 4:30
Vision is full and unyielding; fueled by sunlight it spreads out effortlessly. And this sunlight fills space inviting views and further distances to the eye. I want to consider a different vision that can occur while writing and drawing; at these times my perspective changes as my attention narrows to the thin black line along the white paper plane. I can remove the pen and the paper and still allow my eye to trace/construct the same trajectory. The thin line made by my eyes changes without the brace of the page. At other times I render a part of the landscape as my eye defines it – the camera shifts from a passive recorder to a more applied marking. The sunlight keeps filling space inviting views and distance but I use the camera to sketch out distinct objects in the landscape instead of resolving each in a broader perspective. How many miles away is the moon from my eyes? And the sun still reveals its presence: a cloudy white, circular point.
untitled (white light), 2005 TRT 2:39 silent
a further investigation of sun/light phenomena - a consideration of a landscape and the point of view it provides or induces - a survey and integration of phenomena into this visual account to provide a shifting sense of space
This was shot with George Raggett at the El Mirage Dry Lake in the Mojave Desert outside of Los Angeles.
Untitled with Commercial, 2005 TRT 6:39
This project explores the relationship of the sun to photography and vision. It is concerned with the phenomena of light as it appears to us in the landscape and photographically. The camera relies on a light source to define information but often when that light source appears in a photograph it registers as an omission of information.
This video was structured for a collaborative exhibition with George Raggett. It was presented as a looped single channel piece on a monitor in a gallery. The commercial marks a break in the sequence of visual explorations while providing a subjective reading of the excitable visuals of advertising narratives.
Ground/Glass, 2008 TRT 4:25
Ground/Glass is an attempt to use a cave as an optical instrument for exploring light and the landscape. Within this cave a person's eyes dilate and adjust to the darkness revealing the character of the cave while simultaneously the view to the outside sunlit landscape appears increasingly obscured, veiled in broad daylight. This video is an exploration of this inversion while considering the austere yet ornate structure of the cave. The imagery is layered with views through broken beer bottle shards and an intermittent 360° pan involving a bicycle wheel that also functions as an audio component.
Sun Rise Sun Set, 1995 TRT :39 silent
After undergraduate school I worked at a stock photography agency. This was before internet business and my job was to maintain a library of 35mm slides. Eventually I took on the responsibility of assigning images to categories: sunset with people, smoking, family eating, exercise, happy, businessman, ... The most popular images were published in glossy color catalogs each year. These catalogs were fascinating, boring, and repulsive.
On The Horizon, 1999 TRT 1:41
Untitled (approach) and On the Horizon attempt to attach the eye to the body. Both videos are from a time when I used a narrow hilltop in Griffith Park as a studio. Primarily the work I did there was photographic and involved the visually broad and physically constrained point of the hilltop as a viewing mechanism
At sunset the street in front of my apartment provides a view of this hilltop I frequented. It is just a point on a huge lumpy black horizon line that is partially comprised of Griffith Park. Usually my time in the park would precede and then carry through sunset. It was an immersion and would probably be better served if this video was titled "In the Horizon," except that "on" can suggest within oneself: You are on drugs.
untitled (approach), 1999 TRT 1:44
After working at the hilltop for a while I was occasionally asked, "What is this place you go to?" and if my answer wasn't adequate, "Where is
it?" I realized my interest was never in documenting the physical appearance of the place. After all this time I really didn't have any photographs that could offer that information. So I decided to go up during broad daylight and make that type of photograph. This video provides a way to answer those questions while folding that type of photograph into the actual space that I spent time in.
untitled (Eaton), 2008 TRT 1:19
The eyeball is a dark gelatinous place that allows light in, into a body that resembles a blind spot. When you try to see the light outside you are bombarded with reflections of objects in your line of vision. This video is an attempt to lessen the role of light as descriptive messenger, to fracture legibility while immersing in a landscape.
I Will Always Love You, 2004 TRT 3:51
On a train trip leaving New York City Michael Mahalchick lip-synched to the memory of a song. Later after returning from our trip he sang the song a cappella. This is an attempt to construct a music video from these two performances.
Daylight Landscape, 2001 TRT 8:48
This video is an attempt to commit the camera to the landscape physically, to link the visual to the tactile while considering two elements of the Los Angeles landscape: sunlight and palm trees. There is a gap between looking at something and being in it, in this case the landscape. This project falls in the midst of the distance that vision/photography assert and presence that the body defines.