Any language will do, so long as there is always the “back and forth”.

 

My process is collaborative. It encourages multiple voices, displacing the singularity of my voice as the artist.

I arrange and orchestrate situations creating the possibility for the unexpected to occur.  Within these parameters, stories are told.

Each collaboration is a vehicle for exploring communication, drawing attention at times to the gaps between the origin of an idea and its final understanding.  The stories told do not communicate “the truth”.  They remind us of the impossibility of duplicating a story in the retelling of it.

My practice is prismatic.

Through interaction, improvisation and filtering, I excavate the underlying breathe of a story through this iterative and collaborative process. This break or breath I call slippage, an important part of the conversations.  Occurring over space, these slippages are an echo where portions of the sound hide in caves, alleys and under carpets. Any language will do, so long as there is always the “back and forth”.

 

manifesto

  1. The work is to be the first word and not the last – the first and last are the same making it a bit irresponsible.
  2. The initial editing process is to be amateur and instinctive based on blinks and glances.  Later on, work should remained “unfinished” on the surface with much care taken to create the illusion of fiction.
  3. The shooting process is to be more calculated, leaving the camera running to allow for openings or breaches in the work’s “space”.
  4. Work should resituate familiarities for its audiences in awkward unsettling ways.
  5. Optical work and filters are forbidden.
  6. The majority of frames shot should be from a fixed angle with actions and sound choreographed within and without.
  7. The essence of the work should be an attempt to negotiate the relationship between spaces and communication (this negotiation may manifest in varying forms of narrative.)
  8. The work is a conversation, translated many times, remembered and forgotten again.
  9. There must be a mythological and lyrical aspect.
  10. All manifestos herein and forthcoming should be willing to collapse and flex.

(Note: All manifestos must be eliminated.)