The Forties

The Fur of this Animal "Wanted to drop you a quick note to congratulate you on THE FUR OF THIS ANIMAL. Saw it recently ... and was very impressed and interested - made me want to see it a few more times. ... But your film, even though I see it operating through composition (pictorial plus time-based) did get me on the edge of my seat - the image quality throughout was really rather extraordinary. In addition, the film just seemed somehow more serious, which is I guess a matter of a kind of depth and subtlety. So anyhow, you kind of won me over to where my prejudices just melted away." - Fred Worden

Vigil

Departure

Hello! Project 2019 Wint... Hello! Project concert held at Nakano Sun Plaza Hall.

Nimbus "Nimbus was Robert Creeley's first choice to show in conjunction with a lecture at Rocky Mountain Film Center in 1978. This film owes much to Creeley's poetry and Edward Hopper's paintings, although no conscious consideration structured the working process - Hopper in the sense that Brian O'Doherty writes of the paintings as displaying 'an observed, an observer and a witness.'" –G.D.

An Interior "Here is the print of the film that I built up during last spring and summer. You all and others may find it able to speak something to you." — A. M., from a letter to the Cooperative.

The Hidden River of My L... A multimedia work set to Sufjan Stevens’ “The Hidden River of My Life” illustrates a cosmic, yet deeply intimate exploration of humankind: our past, our present, and the places we might go. Produced as a 2019 grad film at Emily Carr University of Art & Design in Vancouver, B.C.

The Moieties "... where beads of light searching out 'the beloved' do pulse with the beat of the filmmaker's heart in perfect contrapuntal rhythm with all else in the frame of that sequence." – Stan Brakhage, World Film Festival of Canada

Hello! Project 2018 Wint... Hello! Project concert held at Nakano Sunplaza Hall.

Domicile "In this film there is a simple accessible constant which you will have no difficulty in recognizing. There is an equally apparent variable. So your question - to phrase it poorly - might be, what is it that is being measured here? The materials of this film are personal, comfortably so. Nothing in that way distorted or untoward. But the choices of the artist are both crucial and defining, and there is evident attention to what he has called boundaries. This ... is a beautiful film, factually, with a lovely shifting counterpoint in the pacing. Like an old slow blues, after some up-tempo number – so, read it and think." – Robert Creeley