Film Format: 16mm

  • Amoré

    Regular 8 film goes through a camera once, then gets flipped and run through again. When processed, the film is split down the middle and spliced end-to-end. I performed (unrehearsed) for a regular 8 camera as a boy as the film ran through the first time, exposing the right side of the film. Then I flipped the reel around AND flipped the camera around as I performed as a girl (in reverse) on the left side. I processed the film by hand and did not split it, so that the performances happen side-by-side. There is no editing in this film…

  • ALL YOU CAN EAT

    A collage of Super 8mm 70’s porn that is bigger than life in 35mm. A sexy and fun smorgasbord – all you can eat in five minutes.

  • City Streaming

    This is a film made in Toronto, in memoriam, so to speak – a memory piece, a “piecing-together” of the experience of living there. The consciousness of the maker comes to sharply focused visual music – not to arrive at snapshots, as such, but rather to “sing” the city as remembered from daily living…complementary, then, to an earlier film, “Unconscious London Strata.”

  • surfacing

    “The world is too much with us; late and soon,/Getting and spending, we lay waste our powers…” – W. Wordsworth Our busy comings-and-goings, on the move, working at life are pictured. Layers of images and scratched emulsion make viewing through the depths an effort, but glimpses of other states suggest we can surface. “A beautiful film. A new way with colour. But more and more epiphanic.” – Barbara Godard

  • Cityscape

    “Cityscape” is an impressionistic documentary film intended to create a social awareness of the need to design safer cities and urban environments for women.

  • object / loss

    “object/loss” addresses themes of physical loss, memory, sexual identity and the didactic divides that shape the fabric of our social existence. Ghostly images collide and fragment as traces of memory resurface and disappear. The title refers to the work of Julia Kristeva on the melancholy/depressive position which occurs through object loss, and the contingent aggression towards the lost object. At the same time the film attempts to examine the consumption of the male figure and its objectification from a feminine heterosexual position.

  • Towards Everyday Lightning

    Contrast itself can be seen as a thematic symbol in this work that plays on enlightenment as an elusive but ever-present possibility. It employs Zoroastrian semiotics and Zen-like circumstances to punctuate the appearances and flows of quotidian labour that have challenged the human condition since Sisyphus.

  • About Flight: The Surly Bonds of Earth

    In this collage of simple images from everyday life, such as feet and butterflies, birds and flowers, the pedestrian nature of human origins is found at play amongst images of a compromised nature. From vignettes of machine-fed birds that mirror a fascination with wings, this film reflects on some of the darker fruits of man’s desire for the capacity for flight. Using both colour and B&W stock, “About Flight” is mainly processed by hand and modulated with colour tints, toning and both in-camera and darkroom effects.

  • Loon Lights

    In the habitat of the Loons a dynamic force is discovered. Its rhythmic play shifts and darts amongst the elements that host it, sometimes transposing its form in moods that plumb the amplitude of all that is visible by day or night. Chromatic intervention surprises moments of pastoral bliss with symphonic shatterings, borne on the medium that is the sustenance of film itself.

  • Dominion

    A reworking of images of Princess Diana drawn from a CNN tribute called “The People’s Princess.” The isolated and manipulated images point to England’s colonial past and to the elusiveness of a media image.