Film Format: 35mm

  • Axis

    Axis is an experimental film made through entirely photomechanical and photochemical means. The film fits into the experimental sub-genre of “optical printer film.” Some practitioners who have inspired me include Jordan Belson, John Whitney, David Rimmer, Pat O’Neill, Al Razutis, Gary Popovich, Bruce Elder and Norman McLaren. Axis takes as its subject matter the mundane, faceless urban landscape with its gleaming towers and factories. The workaday humdrum… drones to the hive. So I take to the streets, with my homemade Bolex robot, affectionately known as “BOLBOT.” It is a time-lapse motion control machine capable of smoothly spinning through X-Y-Z axes…

  • Kimchi Fried Dumplings

    An Asian Canadian man comes home with a new boyfriend for Christmas to find his younger brother, who is also gay, resentful for being left to care for their aging parents

  • My Last Words

    My Last Words takes a look at the process of writing a Last Will and Testament. The film experiments with this legal document and personalizes the process. Working in darkness the filmmaker wrote out his Last Will and Testament onto unexposed 35mm black and white film using a flashlight.

  • The Lost World

    With the aid of a USB microscope and X-ray scanners, this time-based media installation peers into the surface structure of decayed and rotted 35mm celluloid film like a drone flight reconnaissance mission flying over unknown enemy territory. Inspired by electronic surveillance data and Second World War Allied bombing raids on Dresden, the microscopic camera behaves as the trained eye of the bombardier, looking manually into the active areas of the film frame.

  • Visual Music for 10 Voices

    In Barthes’ essay, “The Grain of the Voice”, the concept of the “genosong” was evoked to separate the sound of the voice from its language. Visual Music for Ten Voices distinguishes the physicality of the optical vocal track as having a unique identity from its actual resonance in sound films. Designed as a 10-foot black box projection loop, this film focuses on the rhythm and materiality of ten 35mm optical soundtracks. Each musical passage maintains its original length and linear harmony with the other tracks, collectively creating a new sense of motion and repetition.

  • brouillard #14

    brouillard #14 is the result of in-camera temporal layers shot on the path that extends from the filmmaker’s family cottage to a lake. “In his ongoing brouillard – passages series, Alexandre Larose creates long-take sequences by superimposing first-person, Hamish Fulton-esque walking trajectories shot along a man-made path leading to a lake. Using a lens wide enough to condense the human eye’s field of vision into the frame’s 1.33 aspect ratio, Larose creates spectral superimpositions infused with a meteorological mix and the intense lusciousness of the Quebec landscape.” — Andréa Picard

  • G/R/E/A/S/E

    What the hell is G/R/E/A/S/E? … a handmade décollage film / Vinyl and Celluloid Party / the last piece of the “Film Quartet” trilogy [with FILM QUARTET / POLYFRAME (2006-2008) & KINOSTURM KUBELKA / 16 variaciones (2009)] / a deconstruction / Sandy / Danny / Sanny / Dandy / … both faces at the same frame? / […] ? […] / A new (sub)versions film… all from the original Grease (1978) / a Re-Play [to – with] Grease? / A Musical? / Found Footage Film ? Appropriationism / Experimental Cinema must be serious only? / Inspired by Dziga Vertov, Mimmo…

  • National Tapestry

    Created as a silent, large-scale installation for public spaces, National Tapestry draws our focus to the weft and the warp of the woven image. The materiality of a distressed patriotic symbol echoes the struggles and ambitions of a culture, land and history that are both loved and despised by many. This is Steven Woloshen’s first film exploring ethnology and politics in film.

  • Sea Series #8

    The seaside as a cloudy apparition… a roll of 16mm film shot once in 2008 rewound and re-shot in 2010… ‘John Price’s The Sea Series: Landfall in Lilliput is beautiful example of the diary format. He breaks even further with documentary tradition, showing us silent images of children playing and layering them with a document of clouds. With no verbal narrative or other contextualization, we are left to discover the author’s meaning and truth for ourselves. To do this we must examine our own cultural signifiers and internal constructs to discover the film’s meaning. For this reason, it might be…

  • Confidente (Confident)

    This is me.