Palmerston Blvd. also receives its Californian premiere in a programme of excellent short films entitled "your mileage may vary" at San Diego Underground Film Festival on August 26th. Very grateful to have my work return to this wonderful festival!
I've also recently started artist pages on Facebook and Instagram – please give these a like, follow, or share if you feel so inclined! I'll be posting content from whatever I happen to be currently working on.
^ Still image from Lines of Force (2018, 2 min, 4K)
Looking forward to heading to NYC on May 8th to present Palmerston Blvd. at Anthology Film Archives for the launch of Millennium Film Journal's Issue #67! The programme is curated by Rachel Stevens & Grahame Weinbren and also features works by Lorna Mills, Naeem Nohaiemen, Alee Peoples, and Anita Thacher. The issue is available now – buy your copy at http://www.mfj-online.org/
Finally, I am excited to announce the world premiere of Taylor Creek at San Francisco Cinematheque's Crossroads Festival, June 7–10th at the San Francisco Museum of Modern Art, in the programme "lines are drawn," alongside films by Paul Clipson, sair goetz, Rosa John, Nico La Shae, Talena Sanders, Kelly Sears, Alexander Stewart, and Antoinette Zwirchmayr. The full schedule looks amazing!
"Fever in the Insta-Archive: An Interview with Dan Browne," by Clint Enns will be published in the upcoming Millennium Film Journal, Issue #67 (Spring 2018). Pre-order discount until April 12th at http://www.mfj-online.org/.
This month, Palmerston Blvd. and Generationwill be presented at Stuttgarter Filmwinter in Stuttgart, Germany, which runs from February 8-11th. Generation will also be presented at Les Inattendus Festival in Lyon, France, on February 10th.
In other news, I will be travelling to Vienna this spring to participate in a film screening and gallery exhibition alongside a wonderful list of fellow Toronto artists curated by Madi Piller and Clint Enns. Here is the poster designed by Leslie Supnet, featuring an image I made in collaboration with Madi:
Happy 2018! I'm pleased to report my work has been featured on several year-end "best of" lists: Palmerston Blvd. was included by Michael Sicinski in his list of the twenty-five best avant-garde films of 2017, and was also listed onDesistfilm's 2017 film round up by José Sarmiento Hinjosa and Aaron Cutler.Toronto Film Review's best of 2017 also included Palmerston Blvd. on lists by Clint Enns and Claudia Sicondolfo, and Generation was included on Stephen Broomer's list. I contributed my own lists of favourite works from last year to both these sites, focusing on international work for Desistfilm and Canadian work for Toronto Film Review. I hope you will get a chance to check out the excellent range of works noted by a wide range of contributors on both these sites!
"Palmerston Blvd. is so neatly conceived, I wondered if the viewing experience might seem redundant, or if the concept might not be able to sustain the relatively long run time. In fact, it was the highlight of the fourth and final shorts program, 'As Above, So Below.' Working within tight formal restraints, including silence, Browne was forced to focus his creative attention on the limited set of tools at his disposal and constantly reinvent familiar images. I especially like a shot four minutes in, when he finds a new composition from a slightly lower, slightly skewed angle that turns the window frames into a kind of cubist collage. Gradually, other signs of life appear – first the family cat, and then split-second glimpses of Browne and his partner, and then finally, near the midpoint of the film, an infant swing and high chair. Seven years ago at Wavelengths, I found myself crying unexpectedly during a screening of John Price’s Home Movie, a 35mm, hand-processed study of his growing children. I explained afterward to a friend that Home Movie expressed a particular sensation I’d experienced daily during the five months since my first child was born. I called it a “nostalgia for the present” – a constant, conscious realisation that this moment is already gone and that someday, maybe soon, maybe in the distant future, I would desire deeply to return and reexperience it. I already felt the ache. Palmerston Blvd. has the same effect. When winter snows arrive and the halcyon light falls lower in the sky, the room becomes every warm room, with the sounds of a hissing radiator or the smell of a furnace. And when, at the end, the signs of Browne’s life are removed one by one – the toys and then the plants and then the table and chairs – it provokes a deep-in-the-bones feeling of loss, not only for a particular home (that universal, melancholy experience of locking a door for the last time) but also for a particular domesticity, for a particular light."
"...Palmerston Blvd. is not, in fact, its shots and even the most of their sum. The eye of the camera here is not the eye of those who want to monitor the movements and changes, of what records these shifts and changes... The camera proves to be the tool that expands man, his third eye, which does not see what we do not see, like binoculars, but that implements what we cannot: full delivery to the cinema...."
In other news, I will be doing another live performance, with Nelson Moneo (violin), Meghan Cheng (violin), Laila Zakzook (viola), Cheryl O (cello), Bill McBirnie (flute), and Eugene Martynec (electronics and keys), at Gallery 8-11, on Saturday December 16th, 2:30pm. This concert will feature the Canadian premiere of NYC composer (and youngest-ever Pulitzer Prize winner) Caroline Shaw’s Ritornello 2.sq.
This month I also published an essay, "Cinema for the Inner Eye: On the films of Paul Clipson," for San Francisco Cinematheque's blog. I was surprised to recently discover there has been no sustained critical assessment of Clipson's films, despite the fact that he has made over fifty in the past decade, some of which I consider to be among the finest poetic cinema of recent years. I tried to fill this gap (thanks to a generous invite from Steve Polta), and while this short essay is by no means exhaustive of Clipson's oeuvre, I hope it goes some distance towards explaining what I feel is significant in his work, and provides a point of entry for new viewers. You can look at some of his films on Vimeo.
2017 has been a strong year for me and there were many highlights: making the Images Festival's 30th anniversary trailer, 40+ screenings and performances, including my first international solo retrospective and first time at Wavelengths (on the 50th anniversary of its namesake – a film also about a window, whose maker was in the audience), video installations in three cities running for a total of six months, several chapters accepted for forthcoming publications, and a lot of great feedback. See you in 2018.
This month I will be performing live at Luminous Gestures 2.0, an evening of composed and improvised new music inspired by light with Bill McBirnie (flute), David Story (percussion & piano), Bill Gilliam (piano), Cheryl O (cello), and Eugene Martynec (electoacoustics).
The event is Sunday November 19th, 8pm at Array Space (155 Walnut Ave., Toronto). Tickets are $15.
Excerpt from when stars collide (2017), paired with music by Bill McBirnie and David Story.