Film No. 9
Grassland & Rubble @ 187.5 BPM | 6' 30'' | 2015
digital video, silent, colour
Lots of grass very fast!! My friend Matthew said the editing in this film reminded him of someone playing maracas to a song they'd never heard before. It’s primarily made up of short, sharp, shots of grass, but as the film progresses sheep, rocks, piping, bashed-up cars, and other things appear.
I took an unusually stringent approach with the structure of this video: the shots are grouped into clusters of three and last eight frames each. Each cluster is separated by a short piece of black. Filmed on the west coast of the Scottish Highlands, the film forces the wild grasslands into a rigid editing structure that uses the inherent rhythm of the wind in the grass to build a gradual momentum. Eventually it breaks into a double-time, euphoric, stream of images associated by movement and not rooted to geographical location. I wanted to somehow summon the feeling I get when listening to the fleeting elation of the piano solo in ‘My Baby Just Cares For Me’ by Nina Simone and the discordant zenith of ‘Take The “A” Train’ by Duke Ellington.
Screenings
2016 London Experimental Film Festival, London
2016 Whitechapel Gallery Open Screenings, London
Grassland & Rubble @ 187.5 BPM | 6' 30'' | 2015
digital video, silent, colour
Lots of grass very fast!! My friend Matthew said the editing in this film reminded him of someone playing maracas to a song they'd never heard before. It’s primarily made up of short, sharp, shots of grass, but as the film progresses sheep, rocks, piping, bashed-up cars, and other things appear.
I took an unusually stringent approach with the structure of this video: the shots are grouped into clusters of three and last eight frames each. Each cluster is separated by a short piece of black. Filmed on the west coast of the Scottish Highlands, the film forces the wild grasslands into a rigid editing structure that uses the inherent rhythm of the wind in the grass to build a gradual momentum. Eventually it breaks into a double-time, euphoric, stream of images associated by movement and not rooted to geographical location. I wanted to somehow summon the feeling I get when listening to the fleeting elation of the piano solo in ‘My Baby Just Cares For Me’ by Nina Simone and the discordant zenith of ‘Take The “A” Train’ by Duke Ellington.
Screenings
2016 London Experimental Film Festival, London
2016 Whitechapel Gallery Open Screenings, London