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For many years Rose Lowder has been developing an exceptional technique of weaving together images gathered frame- by-frame to form meticulous patterns of light. By oscillating the focal plane of photographs shot in the same place over time, her layered tapestries produce a new relationship between filmed reality and filmic image. From the movement of a waterwheel’s rotations, mirroring the camera mechanism, to a bouquet of flowers becoming a bouquet of images, her work demonstrates a unique means of expression unparalleled in the world of cinema.
“Colors, objects and their treatments go beyond the discourse of scientific research that the filmmaker usually tends to maintain. We cannot ignore the high sensuality of the scenes and their choices. Rose Lowder favors scenes of nature, even though some of the sites filmed are located in the city. Through their filmic transformation, they no longer appear to be urban manifestations but natural landscapes. In this way, Rose Lowder continues an impressionist tradition: working in nature rather than in the studio; like Cézanne, working on site is the sine qua non condition in order to reveal the ‘little sensation’ and represent it.” Yann Beauvais
