Genres: experimental

  • White Condo

    In this hyper-real age of simulated imagery and self-curated surveillance, many artists are returning to metaphors of authenticity and duplication to investigate the particular character of this post-millennial moment. Theorists like Virilio have interrogated the ways in which contemporary seeing modifies experience, encouraging the extreme desire for other worlds and, essentially, for disappearance itself. White Condo is my ironic attempt to contribute to this complex terrain, a satiric project for exploring the myriad dysfunctional ways that we humans attempt to ‘master’ ourselves and our increasingly artificial environments.

  • The Season Word

    Still but twisting eye / from fall’s wither to first snow / where lives my wonder.

  • Color Neutral

    A color explosion sparkles, bubbles, and fractures in this hand-crafted 16mm film. Reeves utilized an array of mediums and direct-on-film techniques to create this boisterous, psychedelic morsel of cinema as material. Reeves’ soundtrack mixes samples from rusty, dusty old machines, records, and electric waves to create an aural passage through technological progress.

  • Mills

    The ruins of a nineteenth century farm in the brush off Moatfield Drive in Toronto – a stone shack without a roof and, not much further, a well, long since abandoned as a sewer. We made a quick inventory: splintering branches; stars and asterisks; coded tags.

  • Landform 1

    Studies in motion, made red, black and blue by tone and tint. To be present in a landscape is to turn from vision to a menacing rhythm.

  • On Sundays

    A record of textured surfaces and passing throughts on an uneventful Sunday spent in quiet contemplation at home, accompanied by the memories of defocused lights on a somnambullstic nighttime streetcar journey. Produced in collaboration with poet Goran Simic, commissioned by the Liaison of Independent Filmmakers of Toronto (LIFT) for Poetry Projections II.

  • Hand-processing

    A campfire for warming eyes and sight, somewhat akin to TV static. Produced by accident and chance, all the images in this film are achieved via tactile impact, the soundtrack acoustically interpreting the same abrasions.

  • Routes

    Tree rhythms in the backyard of my parents’ house.

  • Far Shore, The

    Set in 1918 Ontario. Eulalie, a Quebecoise, marries a Toronto engineer but finds life with him oppressive. She falls in love with Tom, a painter who is an acquaintance of her husband’s and, with him, escapes briefly to Northern Ontario before they are hunted down by her jealous husband. “For something like two decades, Joyce Wieland – the Toronto painter, filmmaker, quiltmaker and lay ecologist – has been creating an individual sensibility and then displaying it, piece by piece, in the various art forms that have suited her purposes. In ‘The Far Shore’, her feature film, she articulates that sensibility…

  • Midway

    Electric reveries forged from the pulsating lights on the Canadian National Exhibition.