In the aftermath of a death things may seem very quiet, but there are struggles going on so deep not even those who struggle can recognize them. This film looks and listens for signs of those struggles. Psychoanalytic interjections consider the nature of time and rumination, and are used to step outside of the terribly interiorized state of mourning.
"I'm not going to go to the Anne Frank House—I don't think I could take it—being a tourist is bad enough—though I'm not really a tourist—I'm here working—my camera's the one on vacation—taking holiday sounds and images—it's having a nice change of pace—for me it's still the same old thing—talking and talking.
Animal Attraction is a documentary about the relationship between people and animals that questions the way we project our hopes and desires onto our pets, and ascribe human qualities and attributes to their gestures. The video was inspired by the plight of the filmmaker who was frustrated by the obnoxious behavior of her cat, Ernie. As a last resort, she gave in to a friend's suggestion to contact an animal communicator. This is her journey with interspecies telepathic communicator, Dawn Hayman, from Spring Farm CARES, an animal sanctuary in upstate New York.
Archival Quality is comprised of four segments. In the first, “Memorativa", powerful childhood experiences of secrets are evoked. In “Olfatus", documentation of the artist’s performances are revealed by clicking on symbols in landscape. The third segment, “Gustus", is co-named “Slices of Life, My Videotapes (1976-89)” and takes the form of a giant pizza, slices of which, when clicked, advance towards the reader.“Vermio,” the fourth segment, consists of four text-and-image collages, sections of which can be “peeled off” to reveal loops of sound and image.
Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.
This strange, lyrical performance video diary is a millennial reflection on the impossibility to "reveal" one’s self in stormy times such as ours. The piece is also about the intricate connections between performance and everyday life; about language, identity, love, nostalgia and activism amidst the California apocalypse.
"...a rumination, a series of borrowed 'dialogues' out of an ongoing argument with myself. It meanders, mentally and physically, reflecting on the conditions of being human; on transience, consciousness and desire. It uses landscapes as provocations, as sites of contemplation. And between the landscape and the thought, i.e. between the radical presence of the physical world and the idea, there is, more often than not, a distance, disbelief or irony."
This video diary visits two sites that exhibited my visual works this past year, culminating at the VOLTA ART SHOW in N.Y.C., where I sold some paintings and a photograph.
The underling theme of the diary deals with some bloating, scarring and beefcake exposure while on the road to an acting gig where I'm scheduled to play a BI-SEXUAL, paraplegic in heat.
There are some in depth scenes of me working out the romance/sex routines with a young and attractive, male co-star. The all-girl crew appears to be getting off on the whole thing and I don't blame them!
Two women, miles apart in spacial terms, chat about their art and motivational meanderings amid images of Chinese potstickers and fresh pasta. A man sits with them and chews the fat, revealing the ups and downs of social intercourse and parental secretions (secrets).
The question, “Who am I?” has been asked over the centuries in many different ways. Videomaker Carlos Nader adds another approach in his investigation into the nature of the individual by taking the work beyond self-examination and asking it of others. What is revealed is the impossibility of rational thinking to understand the essentialism of human identity. Nader describes this work as a “non-autobiography-video” about its author; a video about nothing.” Exploring notions of the irreducibility of identity to one’s color, nationality, or politics, the tape “wants to be anyone’s biography.