Jeremy Moss: The Sight
Works by Mary Helena Clark, Jim Drain and Ben Russell, Robbie Land, Jeremy Moss, Talena Sanders, Danielle Short and Fern Silva
Lost Ambulation (2012) by Danielle Short; digital video, color, sound, 5 minutes, from the maker. north american premiere.
“Lost Ambulation personifies restriction from within and without. A solitary dancer moves but does not progress or escape the confines of her unyielding environment. Her physical and mental state parallels the architecture; moments of beauty and chaos pass without awareness.” (Danielle Short)
The Sight (2012) by Jeremy Moss; digital video, color, sound, 4 minutes, from the maker. bay area premiere.
“A song of creation: immaterial spawns volatile matter; landscape emerges from splintering celluloid, interrogating vision and landscape. Hand-processed July 2012 at Phil Hoffman’s Film Farm in Ontario, Canada.” (Jeremy Moss)
Ponce de León (2012) by Jim Drain and Ben Russell; digital video, color, sound, 26 minutes, from the makers. bay area premiere.
I could do wonders if I didn’t have a body. But the body grabs me, it slows me, it enslaves me. (Ponce de León)
“Our Ponce de León discovered the fountain of youth and drank of immortality in the waning moments of his life. In an instant, he became old forever—an 80-year old Spaniard who would continue to walk the earth for century after century after century, watching as coral foundations gave way to mangrove swamps, as swamps were drained and buildings were erected, as buildings decayed and swamps returned. Our Ponce de León is an immortal for whom time poses the greatest dilemma—it is a constant, a given, and his personal battle lies in trying to either arrest time entirely or to make the hands on his clock move ever faster. For Ponce de León, time is a problem of body, and only by escaping his container can he escape time itself.” (Ben Russell)
Matters of Bioluminescence (2013) by Robbie Land; 16mm, color, silent, 7 minutes, print from the maker. bay area premiere.
“Matters of Bioluminescence is a personal documentation of bioluminescent phenomena. I am using various conventional and unconventional methods to explore and document these organisms and provide a unique perspective to these glowing life forms.
“The film begins with a time-lapse of fireflies and various raw film stocks contained in a glass jar. The second portion of the film is the abstract result the bioluminescent insects create with the light-sensitive film. The film then focuses on foxfire, the glowing mushrooms. Mushrooms are filmed in their environment using time-exposure cameras and therefore demonstrate the waxing and waning of the fungi’s luminescence. The mushrooms are also placed directly onto various raw film stocks generating an animated illustration of foxfire as it burns its image into the film.” (Robbie Land)
The Fort (2012) by Talena Sanders; digital video, b&w, sound, 7 minutes, from the maker. world premiere.
“At the place where Las Vegas was founded, a small group of men and women hold forth against an ever-encroaching culture of hyper-modernity.” (Talena Sanders)
Concrete Parlay (2012) by Fern Silva; 16mm, color, sound, 18 minutes, print from the maker. bay area premiere.
“Carried by the frenetic energy of a magic carpet, Concrete Parlay is a metaphysical flight that weaves among visual kernels of the anthropic and biological worlds. From prehistoric horseshoe crabs strewn among modern refuse, stoic pyramids foregrounded by golf course maintenance, mystic rituals evoking avian gestures, to contemporary political upheaval equalized by natural phenomena—the poetic equivalence among images transcends particular umwelten, as the disorienting whirl of the compass connotes the kinetic nature of existence.” (Aily Nash)
By foot-candle light (2011) by Mary Helena Clark; digital video, color, sound, 9 minutes, from the maker. bay area premiere.
“A walk through the proscenium wings. You close your eyes and suddenly it is dark.” (Mary Helena Clark)
“In the dream we call cinema there is no either, no or. We move from cave to forest to theater and back again, certain only that we are elsewhere, at least until the reel runs out. Here is objective truth, or ‘hypnosis’ by another name.” (Ben Russell)