I am excited to announce that I was commissioned by Images Festival to make the official trailer for this year's festival. This was a great honour, and since it is Images' 30th anniversary, I decided to pay homage to the festival's staff, artists and attendees by creating a collage out of the nearly 15,000 images in their archives. If you've ever been to Images before you will see some familiar faces, and maybe even yourself! Check out the trailer below, or on the big screen at this year's edition, which runs from April 21-28th in Toronto. The music is by Karl Fousek, "Second" from Pattern Recognition (2015).
This winter I'm taking a breather from making new works in order to focus on my dissertation, which centres around process-based aesthetics and decay in experimental film. Writing about decay and the world feels very appropriate right now, I think I chose a timely topic! Been reading a lot of theory and am excited by my recent discovery of Bataille's The Accursed Share, which I feel perfectly summarizes the role of avant-garde cinema -- looking forward to writing on this connection, which seems to have gone unaddressed. I've also completed some notes towards a short theoretical/aesthetic manifesto called "The Fragile Image," that is an attempt to work through some common themes in my practices. Whatever happened to the days when artists wrote creative manifestos? We need more of that!
I will be doing live improvised video projections with pianist Jacqueline Leung at Audiopollination #51 at Array Space on Saturday February 11th in Toronto. I'm also exhibiting two video installations, Cathedral and Grid024 (both 2015), on The UMW Media Wall at the University of Mary Washington in Fredericksburg, VA. And Núria Giménez Comas will be presenting her re-scored version of my film Abraxas (2006) in concert at "Zone(s) de combat," Consortium on February 10th in Dijon, France.
(By the way, if any web developers out there reading this are familiar with Koken -- which this site is run on -- I'm encountering glitches when updating content that I really could use some assistance with!)
2016 was a great year for me personally, and not such a great one for the world...
Let's start with the good: I somehow managed 52 screenings, installations, and live performances, including five solo presentations and a Loop Collective touring programme that spanned from coast to coast. I made seven new 16mm films, a handful of other projects, and resurrected four older films with new digital restorations. I finally managed to place all of my work in distribution with CFMDC and Light Cone, so something will survive if my house burns down. My films were mentioned on 'best of' year end lists by Rinaldo Censi, Donatello Corona, and Ángel Rueda, and I was happy to do my first lengthy interview on my filmmaking with Edwin Rostron. I have three new projects in process that I am confident will be among my best work to date, and I began several new collaborations and working relationships with other artists and organizations that I look forward to continuing in the coming year. And my personal life continues to blossom as I enjoy the struggles and triumphs of being a parent.
As for the downs: while I'm not the type to wax dramatic over the deaths of celebrities I've never met (with the possible exception of Leonard Cohen), the stories of rampant environmental destruction that filled this year's news -- the death of 80% of the Great Barrier Reef, the loss of 2/3 of wild animals, the radical acceleration of Arctic ice melt, and the near certainty that a great catastrophe will be upon us all within fifty years or sooner -- have left me feeling increasingly pessimistic about the future, especially given the ascendant world political scenario. I find myself mulling over Hölderlin's question, "What are poets for in a destitute time?" It can seem profane to task oneself with making and exhibiting artworks in such a climate (sometimes even impossible), but they are also needed now more than ever. I will be taking a sabbatical from most social media platforms for the next while with the hope of being able to better ground myself, but please feel free to write me anytime, I would love to hear from you!
B Movie (2005) will be presented in Montreal at La Lumière on December 16th as part of Contre Courant, a programme of found footage works curated by Guillaume Vallée.
Finally, I'm happy to announce that the final show prints of the films in The Lost Cycleare ready and will soon be available for rental via CFMDC and Light Cone, at long last. Please go and rent them! :)
Hope you all stay warm and focused this winter.
Still images from On Sundays (2007) and Field (2016).
Early Monthly Segments is pleased to host a screening of the work of local artist Dan Browne. A prolific film and video maker over the last decade, Browne finds himself drawn to the abstract patterns of nature, organizing them visually into immersive films that examine light play and embodied vision.
After a few years diving prolifically into digital image-making—including the much lauded memento mori—tonight’s screening features a return to celluloid for Browne with a brand new compendium of seven short films, entitled The Lost Cycle. The cycle, for Browne, “came about as a result of the process of going through my negatives — I found these otherwise lost moments in my filmography, moments that had meaning, which I had intended to do things with but never got around to doing, and decided to release them as a coming to terms with my karma for the medium.”
Quanta, Dan Browne, Canada, 2008, 16mm, 9 min.
On Sundays, Dan Browne, Canada, 2007, 16mm, 20 min.
Hand-processing, Dan Browne, Canada, 2010, 16mm, 3 min.
The Lost Cycle, Dan Browne, Canada, 2016, 16mm, 24 min.
Festival of Light, Dan Browne, Canada, 2007, 16mm, 3 min.
- UNEXPOSED Microcinema on September 30th, part of a three-part series on Canadian experimental film, alongside Shannon Harris, Erin Celeste Weisgerber, Parastoo Anoushahpour, Ryan Ferko and Faraz Anoushahpour, Scott Fitzpatrick and Mike Hoolbloom.
- Festival du Nouveau Cinema, "The New Alchemists #2," on October 10th & 12th, featuring works by Anouk de Clercq, Solomon Nagler, Katherine Liberovskaya, Matthias Müller, Jessica Sarah Rinland and Audréane Beaucage. I will be in attendance for both screenings!
Also, Midway (2008) will be presented at Curta8 International Festival of Super 8 on October 8th, in a programme alongside works by Saul Levine, Stephen Broomer, Joseph Bernard, Malena Szlam, Alexandra Morales, and Eda Goksel and Rita Piffer. This is the first time the restored version has been publicly presented, many thanks to Rafael Schlichting and Cláudio Cárdenas!
Above: Stills from Midway (2008, 13 min, Super 8 Kodachrome).
I am also really pleased to say I have some upcoming solo screenings in the works. I will do a separate post on these as soon as they are announced, but for now I can say that in December I will be touring the Loop Collective "Recent Works" programme to Ottawa with Canadian Film Institute, and Montreal with VISIONS / La Lumière Collective, alongside a selection of my own films, featuring The Lost Cycle (2016). It also looks like I will have a solo show in Toronto later this month... Details TBA soon!
Quanta (2008) will be presented as part of Light Cone's Scratch Expanded Show on September 17th in Paris. This is a favourite among my own works that is rarely shown, and so I am very appreciative to have it included in an amazing programme of silent films by icons such as Hans Richter, Oskar Fischinger, Maya Deren, Robert Breer, Stan Brakhage, and contemporaries such as Stephen Broomer and Josh Lewis. The event will be a "projection en plein air," don't miss it if you are in Paris.
Four years ago this month I premiered memento mori at the WNDX Festival of Moving Image, where it received the Jury Prize for Best Canadian Work. I am grateful that it has been viewed over 4,000 times online and liked by 100 people on its Vimeo page since then, which means it is played almost 3x daily. I sometimes feel conflicted about offering my work online for free, but consider it important for it to be as accessible as possible because I want it to be seen. I am grateful to receive the following comment from one of my favourite filmmakers, Joseph Bernard, who writes: "Your life flashed before my eyes in this delicious experience of images and recordings interwoven with cinematic genius... a network of thought and displacement sharing an exposed nervous system -- all with a dense, dark beauty. This is a absolute rarity of pure filmmaking. Stunning!" If you have enjoyed memento mori (or any of my other works) and would like to support me, you can purchase a BluRay from me personally via email (I will be creating an official limited release to promote this soon). Or, if you are a curator, please consider renting this work from one of its distributors: Winnipeg Film Group, CFMDC, Light Cone.
^ Still frame from Gulf (2016, 4 min, 16mm, col, sil)
Below are some photos from my show with Karl Fousek at Vector Festival in July courtesy of Vector and InterAccess. We had a great response to the performance, which was entirely improvised and our first time playing together (no rehearsal!), and I hope to collaborate with Karl again sometime soon. It was also great to perform with Michael Trommer and Eric Filion on the bill, and we all had a great panel discussion the next day, entitled "Algorithms, Generative Art and Machine Agency," moderated by festival co-curator Martin Zeilinger. This was the first A/V live show of Grids and it won't be the last.