Put your head in the hand of the hand and build a new foundation under the old. Before it begins show a few frames of what’s to come. Then begin. Begin with the pretense that improvisation is of the moment. Not necessarily a moment that recaptures the past events as they happened but re-presenting the feelings they once evoked. Include a present or a butterfly or a statue of Buddha.

Move through frames, give a hand to the workers who are moving in them…the frames…Reapply the basics. Attain your sense of direction. Remember being five and 15 and XXXXV. Record it all. Document it. Record the ambiguous movements of the machines. Place it against the sky. Reveal time in all it’s tenses. The woman against a still frame…silence…

Contrasts of black and white, absence and presence, movement and still life, postcards and pictures. The moment the landscapes appear in the pictures is a pure deception.When were they taken? Where? Was it a cold winter day with your dog at your side? Your hand clutching the camera. Fingers cold. Hoping they appear as they were or as they could. Put it down. Push a rock with the machine. A shovel against the sky. Pure contrast painting.

The rural setting provides the opportunity to see the transformative effects on nature of building a house. The sea and the sky and the Empire State building. A humble house for a beatnik saviour.

It is finished.

“I’m having a wonderful vision of the city today buildings all lined up leaned on straight sunlit blocks.”

- SY

Volume 1, Issue 3 / July 1997 Film Reviews   american experimental cinema   avant-garde   experimental   genre_experimental   robert frank