Visceral cadences, stochastic data, oedipal loops, and vivid sequences abound in these works that interrogate the process of image-making and the patterns that surround us.

Pattern Language
Peter Burr, 2017, 11m

Architect Christopher Alexander’s design theories are applied towards a generative video game labyrinth, resulting in this rhythmic animation made of rippling, skipping, and strobing arrays of light infused with programmatic digital pixelation. (Peter Burr)

Unfold.alt
Ryoichi Kurokawa, 2016, 4m

Inspired by the latest discoveries in the field of astrophysics, unfold.alt, an immersive and sensory installation seeks to translate into sounds, images, and vibrations, the phenomena surrounding the formation and evolution of stars and galaxies. (AEC)

syn.mod.2
Ryoichi Kurokawa, 2014, 2m

syn.mod.1
Ryoichi Kurokawa, 2013, 2m

syn_mod.n offers the viewer what seem like snapshots into infinity, a chaotic glimpse, strobe-like and married to a shattering pulse of sound. The viewer can identify patterns, eyes, even faces, without ever being able to settle for one interpretation because of the pace that each image is displayed at. Simultaneity and synaesthesia - the correspondence of sensations and perceptions, such as sounds and colors - play masterfully in harmony and dissonance in order to create syn_mod.n (Sedition)

Picture Particles
Thorsten Fleisch, 2014, 4m

Individual elements from a carrier of visual information have been isolated to construct alternative visual reagents. Repetition (in space and in time \\\\[and in moderation\\\\]) is administered as a binder to tame the wild particles in motion, evoking a golden ratio of the mind's eye. For this film found Super 8 footage was the source material. It was cut to small pieces and investigated further with other film formats (16 mm & 35 mm) by means of optical printing and reshooting the projected material. After applying this analogue feedback loop for a while the result has been transferred to video and edited further. Using historical imagery on a historical film carrier as the building blocks for an alternate reality, the influence conserved history has in building our present and thus the future is suggested. (Thorsten Fleisch)

Traces: Legacy
Scott Stark, 2015, 9m

Discarded Christmas trees, colorfully arranged flea market finds, a museum of animal kills, microscopic views of kitchenware, and other overlooked cultural artifacts are interwoven with flickering journeys through mysterious, shadowy realms. A series of short 35mm films generated from digital still images and printed onto movie film. The top and bottom half of each image alternate in the projector gate, and the images are arranged in a dizzying array of rhythms and patterns. The images also bleed onto the optical soundtrack area of the film, generating their own unexpected sounds. (Scott Stark)

Alone. Life Wastes Andy Hardy
Martin Arnold, 1998, 14m

Mickey Rooney and Judy Garland are cloned in an experimental backyard musical. The starting point is a number of scenes from the days when both the adolescents romped through the family series and Busby Berkeley musicals. These are put in a new order and before our eyes run forwards and backwards in a gentle adagio. Andy Hardy, the all-American sunny boy of the 1930s and 1940s, returns as an Oedipally destroyed teen clone to be released from his suffering by Betsy's singing and kisses. (Sixpack Film)

(Break 15 min)

Outer Space
Peter Tscherkassky, 1998, 10m

In half-light and fractured, staggering visuals, a young woman enters into a suburban house at night. As the door closes behind her, both the physical space and the surface of the projection begin to splinter, collapse and rupture. Spaces enclose and enfold, the female subject multiplies and shatters across the screen, and the film itself screeches and tears as the sprockets and optical soundtrack violently invade the fictional world. (Senses of Cinema)

Over & Over
Michael Fleming, 2016, 8m NY PREMIERE

A 35mm found-footage hand-manipulated collage film focusing on the depiction of fear and revenge seen in commercial cinema. Manipulating our fear of mortality, it suggests we decimate what threatens us. The surface of the film material has been treated in the same way: peeling, scalping, cutting, and burning the image. (Michael Flemming)

Films to Break Projectors
iloobia, 2016, 5m NY PREMIERE

Films to Break Projectors glues, scrapes and splices 35mm, 16mm and 8mm film to create unprojectable celluloid collages. Reanimating the material reveals the colour music within and traces of ambiguous narratives that emerge from the complex loops. (iloobia)

Frequency Objects
Julie Murray, 2014, 6m

Frequency Objects is in two parts. The first combines negatives from family photographs, photograms and found fragments of 35mm movie film, in a montage that finds friction between the animation and smooth motion of movie images. Through imprecise stops and starts one catches sight of image fragments; figures half in and half out of the frame, faces suddenly happened upon. In the second part, the pattern is of a fabric and various photogrammed objects produce to-scale shadows of themselves. (Julie Murray)

Sketch Films #1-4
Tomonari Nishikawa, 2005-2007, 11m

As a painter carries a sketchbook and practices drawing, I carried a Super 8 camera and shot frame by frame, as an everyday exercise to make animations of lines and shapes found in the public space. The entire film was edited in camera and hand-processed afterwards. (Tomonari Nishikawa)

Lumphini 2552
Tomonari Nishikawa, 2009, 3m

It was shot through a still camera at Lumphini Park in Bangkok, Thailand. The hand-processed visual shows the organic patterns found in this monumental park, constructing the systematic yet emotional rhythm and pace on the screen, accompanied by the sound from the visual also captured through the still camera on the optical soundtrack. Lumphini is named for Lumbini, a Sanskrit word of the birthplace of the Buddha in Nepal, and 2552 is the year on the Buddhist calendar for 2009. (Tomonari Nishikawa)

Persian Pickles
Jodie Mack, 2012, 3m

Fractal phonics accompany a delicate study of paisley fabrics. (Jodie Mack)