Spectres of Shortwave / Ombres des ondes courtes

Several fragments of one day in Leningrad in the autumn of 1989, refracted in the imagination of the artist.

A haunting commemoration of the Tiananmen Square uprisings.

A film searching for life.

A self described "documediamentary" about the reactions to the release of the then final Star Wars film, "Revenge of the Sith".

Black kites soar on thermals along the Kamo river in Kyoto. Flags billow. Cacti spin. Plum trees blossom. Pigeons make love atop a clock. Friends chat by the riverside. Filmed February/March 2019 on a single 40 year old cartridge of Kodachrome Super 8 and hand-developed in Caffenol. The film was heavily fogged, but there are some (real) images.

Inspired by a newspaper article about the plight of monarch butterflies, using found footage from four different sources, I edited, optically-printed, superimposed, scratched on, bleached and otherwise altered the film to highlight, lament and challenge the monarch butterflies’ dilemma. –Caryn Cline

The Philosophy of Horror is a seven-part abstract adaptation of Noël Carroll’s influential film theoretical book of the same title (published in 1990), which is a close examination of the horror genre. The film uses hand painted and decayed 35mm film strips of the classic slasher movie A Nightmare on Elm Street (Wes Craven, 1984) and its sequel A Nightmare on Elm Street 2: Freddy's Revenge (1985).

Using natural elements and sounds, this experimental film explores the connection between the body and land.

A series of wordless actions performed in a Delta hotel room. With a handmade sweater inspired by a dream, a light-up motorized winter scene, a replica Princess Diana engagement ring, a replica Titanic necklace, a replica Blue Boy cross stitch, the CN Tower, and a coffee table biography of the founder of the popular Sandals luxury resort chain.

In Seán Martin's "Koan IV", an opening provocation suggests that the things we see continually hide the things we'd like to see. What we see after this is mist in a Scottish landscape. Martin's patient, enigmatic film contemplates a popular image of romance and intrigue attributed to a rural identity, alluding to what is hidden, what is real and what does not exist.