Columns in the Sea
Columns in the Sea
– (Super 8mm and
16mm film, colour, silent. 2007) was co-directed and co-shot
with Nicolas Renaud.
It was shot with the
sadly
discontinued
Kodachrome in San
Diego, California by
the Scripps Institution
of Oceanography. The
film was shot frame by
frame with a set of exposures; we changed
the focal length on
the lens, zooming in
and then out in—a
trombone
effect.
The effect that is created is called Persistence of Vision, a
commonly-accepted,
although somewhat
controversial theory
,which suggests that
everything we see is
a subtle blend of what
is happening now
and what happened
a fraction of a second
ago. The film creates
an endless loop of
navigating the very
idea of perspective
and exploiting its tendency for illusions of
both space and time.
Pour Gently Don’t
Overflow
Each film came out of a
specific technical question and device. Even
though cinema doesn’t
rely on material nor the
technique used (you can
shoot poetry with your
mobile phone or meaningless pictures with
35mm cine-film), it is
still in a way, especially
for experimental filmmaking, a starting point
or inspiration where the
possibilities and limitations of the medium or
technical aspects will
shape a vision that would
not have come up with
the use of different tools.
Pour Gently Don’t Overflow – (Super 8mm, black
and white, 2 min. 2014)
began with wanting to
test the Leicina Special from Leica, (it’s like
the Tesla of Super 8mm
cameras) and a quote
from Albert Camus
« overflow gently —
don’t drown » from his
notebooks. Shooting the
film frame by frame, the
film wanders between
two rooms or spaces and
dives into images of various parts of the rooms,
after it returns to the
original frame, the circular motion is repeated.