Delicate super 8 film is used to dismantle and reconstruct the suburban Winnipeg landscape across multiple projectors, while the booming sounds of closely passing freight trains continuously bait and goad the image to attempt longer and more dangerous constructions. Invested in as much personal as national history, and sharing its name with the train involved in the 2013 Lac Mégantic crude oil derailment, 606 is a meditative rumination on potentially catastrophic urban juxtapositions.
“Not only did ‘Back and Forth’ expand the possibilities of cinematic framing as postulated in ‘Wavelength’; it actually expanded the parameters of movie narrative as we’d previously recognized them, expanded them even beyond Godard’s bold effects in such films as ‘Weekend.’ For in ‘Back and Forth,’ Snow was able to completely suffuse form with content, while not relinquishing the traditional elements of characterization and acting. The relentless back and forth pan stresses similar concepts which Snow had engaged in his sculptures and carries still further the experiments with perception and illusion which began in ‘Wavelength.’” – Gene Youngblood, L.A. Free Press
A video based on a digitally manipulated photograph that is then transformed through a video synthesizer. The architectural forms constantly fall apart and their changing textures evoke the ephemeral nature of perception.
While searching for shooting locations appropriate to represent a philosophical void, I found myself having to function in a peculiar order. When the camera was rolling, I had to make myself disappear. As per the requirements of conceptual nothingness, the continuity demanded that no subject be present. I had to cross a theoretical vanishing point somewhere on the horizon of a 360 degree image. It became a process of intuitive measuring of environments, which were often absent of any spacial distinctions, beyond the distance between myself and the lens. Many of my efforts became futile.
Ink is transferred directly from the page to the filmstrip in BCKGRNDS, PTTRNS, TXTRS + TNTS, an ongoing cinematic adaptation of repeating patterns by iconic American graphic designer Clarence P. Horung. The overlapping images from three projectors offer a rumination on shape, texture and colour, and reveal the intrinsic symmetrical properties of the filmstrip. Horung’s images also produce the soundtrack via optical translation; the result is an entirely alien cinematic experience.
Brickfields, Kuala Lumpur: Apartments stacked up like cigarette boxes, homes away from home, temporary staging posts on the restless quest for the next contract. Night follows day. An evening time of trysts and assignations follow feminine, neighbourly companionship and daily rounds.
Boundary Interactions acts as metaphors for the notion of in-betweenness and struggle. Performances at border regions, particularly between Wales and England, have been prevalent throughout my practice, in terms of geography, language, and the swiftness at which one can switch from being a citizen to being a foreigner.
Con Brio is an experimental study in rhythm and movement that converts flowers from static and delicate icons of sentiment into bold and dynamic graphic elements. The images were generated one frame at a time, using a 16mm camera adapted for a variety of pinhole and double-slit techniques.
Darna, the foremost Filipino female superhero, is an indelible part of Philippine pop culture. In the 70s, as the Filipinos struggled under the dictatorship of Ferdinand Marcos, Darna conquered and ruled the box office. Narda, a country lass, swallows a magical stone which turns her into Darna, a beautiful woman with superhuman qualities. In this novel retelling, Darna wakes up to discover that her magical stone has grown as big as her heart.
From the larger body of work – Concerning the Landscape: A Study in Relationships – attempts to create a relationship with the landscape by using aspects of the human developmental stages as a starting point – including innate reactions, mimicry and non-verbal communication. This series of performances focuses on the complications of communication, which is used to visualize reality, the attempt of dialogue, the dissonance between form and content and the possibility for trial, success and dysfunction in understanding. By exploring the concept of landscape in a reactive way, I try to gain a new relationship with the land through empathetic mimicry as well as reactions to its unique attributes- citing moments of relational conflict, understanding, unity, resistance and tenderness.