Film Format: Digital File

  • Robot Pavlov Sputnik

    This is a confluence of intent and a revisiting of an iconic animation by Norman McLaren – “Synchromy” 1971. McLaren’s “Synchomy” is an early form of machine art, a formal modernist gesture revealing & reveling in the immediate transparency of code and signal, a chimerical fantasy of speculative references–prophetic futurism reading itself, speaking itself. What I have done: reinterpreted and composited informed by the morphic quality of code, its slippage and variability, creating a highly saturated abstracted wave ocean horizon/sunrise pulsed imagistcally by the musical track.

  • Cherry Light

    An abstract film.

  • Hand Made Electricity

    Image: Oliver Hockenhull Sampled: Norman McLaren Music: Lisa Walker Info: Graphical sound & visual music painting in action, hand painting on film sampled, metamorphic pastels and the projection of the netted dynamic blue dot of the causal field. Finding no time in time. A singularity expressed, drummed out like a message for you and you and…

  • Happy Birthday!

    Happy Birthday was created with a newly-found cassette recording from my 1970 birthday party. One hears a 16mm camera motor starting and stopping in the background as my father directs me to mark the “takes” in a 16mm film that was also found, but never developed, and whose images were consequently lost. Using the same Bolex camera that he had used, I recreated the images to accompany the found sound, a blank screen formed by morning sunlight, textured with the bubbles and scratches of hand processing in the basement barn of the Film Farm. [Originally shot at Philip Hoffman’s Independent…

  • A More Radiant Sphere

    A More Radiant Sphere tells the long-lost story of Communist poet, activist and Canadian political prisoner Joe Wallace, bringing him to life through archival material, both real and imagined. This hybrid film is shot primarily on 16mm film and weaves together the story of Wallace, the failed Canadian Communist Party, and the filmmaker’s own surprising discovery of her relation to Wallace through a distant relationship with her father (Joe’s great-nephew). Segmented throughout are folk songs based on Wallace’s writings, performed by award-winning folk musician Simone Schmidt, aka Fiver. The film delves into the limits of history and its records, and…

  • Thorn on her side

    A human narrates the story of a bad dream after buying a gorgeous plant at the market. What starts as an innocent encounter to relieve loneliness from isolation becomes a nightmarish seduction scene between a plant and its human. Together they give birth to a new creature.

  • WE DON’T TALK LIKE WE USED TO

    “Shot between Hong Kong, Japan, and the US, this short is Joshua Gen Solondz’s most ambitious work to date, a portrait of the home and the world that is dense, textured, creepy, anxious, noisy, silly, and confounding, but always tender.”-TIFF “We Don’t Talk Like We Used To” continues Joshua Gen Solondz’s loose series of addled diary films with a film that is part travelogue, part affective almanac, and part cinematic noise show. With stops in Hong Kong, New Hampshire, Japan, and Brooklyn, the film alloys obscured faces, oozing on-screen text, throbbing abstractions, solarized superimpositions, and the occasional dad joke into…

  • Tërra Bëstia

    Amidst a biodiverse wasteland on the brink of being enveloped by encroaching bitumen, the enigmatic Beast of the Earth materializes in a prophetic dance. Its vivid gestures, suspended between the celestial and terrestrial realms, serve as a conduit for conveying the portents of humanity’s impending fate.

  • Currents / Perpendicolare Avanti

    Currents / Perpendicolare Avanti is a camera-less, hand-made, 16mm film collage, based on the artist’s autobiographical experience as an immigrant. In three movements, the film explores the dynamics of inhabiting the in-between space of moving between multiple countries and their temporalities, through visual and sound abstraction, interlacing and recycling pre-existing film materials and, using fragments from anonymous orphan films. Utilizing these so-called scraps, Currents is a film of extensive remediation, treated by hand through the use of the emulsion lifting technique, thereby re-imagining, re-constructing, and de-constructing the liminality of immigrant life. The re-writing of the self in Currents is produced…

  • Skyscraper Film

    Can I use the film strip structure as an architectural element? Is it possible to use the celluloid from the film as a cement? Can these skyscrapers be turned into something else? Can solid lines blend into sensual, natural curves? Can I melt skyscrapers? Skyscraper Film was created to try to give a visual answer to these questions, arising from the artist’s relation to urban maps of various locations and their respective skylines, populated by imposing skyscrapers and reinforced concrete panoramas: Quebec, Kingston (Canada), Maryland, Pittsburgh, Baltimore (USA) etc. Cities are presented to us as an abstract handmade camera-less collage,…