Film Categories: Abstraction

  • Concrete Shape

    To face your fear, you must let it enter your life as a Concrete Shape. An onsite video performance by Jesi Jordan created at the Diego Rivera Anahuacalli Museum in Mexico City. This film is made using hand made special effects and biodegradable materials such as Oaxacan clay, lava rocks, chicken eggs, cactus husks, and water.

  • Whispers Mary

    As Venla documents plants in solitude, she slips deep into the fantastical world she observes and begins to question her own reality. Whispers Mary is a Canada Council for the Arts-funded short experimental digital/analog film.

  • FOTO CINE MAMA & I

    There are eyes everywhere. No blind spot left. What shall we dream of when everything becomes visible? We’ll dream of being blind.” — Paul Virilio If you have no room for a film essay work – don’t waste your time further. A film essay delving into the essence of photography, intrinsically incomplete, lacking, fractional. All images inherently reach beyond their boundaries—this is a truth rooted in history and made even more evident in our current age, dominated by the astonishing and decisive powers of artificial intelligence. The film’s core utilizes a collection of personal photographs of the filmmaker’s mother and…

  • mirrored

    This is a Buddhist Slow Movie. A marsh in a high mountain valley in British Columbia.The impermanence of existence. Disease, aging, death. The location is home to a Thai Theravada Forest Monastery.Sound: Chanting in Pali and in Sinhala.

  • 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…

  • 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…

  • 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,…