Film Format: Super 8

  • Discovery of Canada, The

    She constructs a symbolic tale of tenderness and violent tendencies to describe her uneasy relationship with the man, the land, the French and those who were there before her. “A disturbing allegory of invasion and conquest where the traps of simple binaries begin to loosen through an investigation of the invader.” – Susan Lord and Marian McMahon

  • Helium

    Commissioned by the 8 Fest for its 10-year anniversary, “Helium” is a dual-projector work that explores the worlds of competitive bodybuilding and balloon fetish. Originating from a deep fascination of the ability to derive such intense pleasure from otherwise innocuous objects or activities, “Helium” observes inflation, lust, and explosion.

  • Membrana Mortis (Dead Film)

    “Membrana Mortis” is a meta-film, a chaotic assemblage of re-photographed and chemically manipulated image fragments culled from a damaged roll of film that was nearly un-projectable. The films title suggests a two-fold intention – here process and existence pre-suppose one another, at once an elegy to a dead film and observance of new genesis. This film was commissioned by the Independent Filmmakers Cooperative of Ottawa with support from the Canada Council for the Arts for Origin 8, a program commemorating the 50th anniversary of the Super 8 format.

  • Fever

    “Fever” plays with the film convention of “it was only a dream,” positioning the audience/viewer as both the (mind’s) eye of the dreamer, and as the voyeur of the same naked, sleeping figure. In fact, much of the piece explores looking, as dream figures gaze upwards captivated by something unseen, inter-cut with the camera examining the sleeper’s body. The film culminates with the dream looking back at the dreamer, startling him to wakefulness. Perhaps longing is really the theme here, as the camera caresses a body the viewer can’t touch, a dog chases a fox frozen in a glass case,…

  • 5 cité de la Roquette

    When I returned to 5 cité de la roquette, I found a sign on the gate announcing the reconstruction of the building. In the days that followed, I came back in early morning or evening, when crews were not working, to film the stairwells, the stones, the doors, to stand on the landings, to listen to the sounds of the empty building, to watch the light at the windows, to hear again the songs of this place.

  • Four Vignettes

    Four everyday scenes presented as sequential images with generative sound. A home made optical Theremin transmutes the visual to the audible twenty-four times per second. This film was created during TR:AFICC, a residency in TRUCK Gallery’s CAMPER, and was a prototype and proof-of concept for the expanded cinema work Circles of Confusion.

  • Mino-bimaadiziwin (The Good Life)

    Mino-bimaadiziwin (The Good Life) came out of the Artist for Film residency at Artscape Gibraltar Point. I was excited about First Story’s walking tour with Elder Carolyn King. I was only able to participate with the aid of a wheelchair and allow others to push me around, it was my first time in a wheelchair. I documented this walk from that perspective with this manual timelapse on Super 8. Reconciling myself as a mixed-race indigenous Colombian settler “walking the red road” while being a person who lives with physical disabilities. Learning to live mino-bimaadiziwin as a settler to Turtle Island…

  • Fin, La

    “La Fin” is a first film. It’s an exercise in style where metaphors are mixed freely to create, from a banal morning scene, a world increasingly surreal and unusual. By a wink of an eye, the film then liberates itself from its own symbolic collar to envisage, if not going beyond the limits set by and for the individual, at least a sense of humour that exorcises us from the traditional themes of alienation in our modern world.

  • Ocean I

    Ocean I is part of a series of films loosely connected by a similar process of cinematography that sees the operation of the camera as a kind of intuitive performance; specifically the way lenses, filters, and camera are maneuvred in a single long take to create an impression of a space, while also frequently abstracting it.

  • Uncanny

    A young girl reads a horror comic about a businessman who abducts homeless women with uncanny results.