Traces with Elikem

Traces performed and captured by scanner and monitor surfaces. Other surfaces include paper and film. Light reflects and passes through, layers slide past and sometimes meet, punctuated by sounds vibrating and percussive. With the participation of Samuel Elikem Kwame Nyamuame, Ph.D. Visiting Assistant Professor of Ethnomusicology and Dance Departments of Music, Theater (Dance) & Africana Studies

Skin in the Game

As a filmmaker I could never throw anything away. Frames cut out of a larger films were still amazing objects, like fragments of time made visible and tactile, and I kept most of them. At some point I began making collages on glass with these frames and mounted them in light boxes. Here I could see all the individual moments gathered in a very different way then when they were projected as one film. Here, their animated quality was removed, physical and immobile, but still a new whole out of many disparate parts. With Skin in the Game, I began a process of returning all those frames to time based sequences by scanning the collages, cutting them up and animating them digitally. Elements of the soundtrack are also made of fragments heard, written down, and then read by my daughter Maya when she was 9 years old. She is now almost 18. The end of the film is made from a longer piece of found footage, also kept for many years, and appreciated as a strip of film in hand and re- animated along with the optical printer used to view it. This collection is tactile and intimate because of the way it has been kept and played with over time and through process.

UpCycles

2016

A very long process starting with original Super 8 film.

Next came hand processing, printing onto 16mm and then 35mm.

Back down to 16mm, building imagery along the way including

cutting and taping the film. Finally, printed via JK

onto a DSLR and finished digitally with sound.

Explores the scale of the frame and the c

hanging ratio or the screen.

In Glass Houses

Synopsis: An interview is conducted exploring methods used to facilitate a real research project whose aim it is to capture and analyze human micro-expressions for use by a variety of industries (including lie detection and entertainment/animation).

But the particular research or the use of human subjects is really just a point of departure. This film takes a moment to touch on our use of technology and vice versa. 

The images in the film are created in three ways; 1. by scanning the actor and two other support figures interacting with the scanner glass and each other, one frame at a time 2. By filming the actor revealed by the light of the scanner as he is being scanned. (Each light pass represents a frame of the reanimated scanner image) 3. through line drawings and smears which trace or mark points of contact between the actor and the scanner glass.

Close The Lid, Gently: A Home/Document/Scan

2013 00:05:00

 

Performance For Perfection 1200

2014  00:13:26

arianagerstein