Canyon Cinema

A multiple-superimposition hand-painted visual symphony of animal life of earth. THE LOOM might be compared to musical quartet-form (as there are almost always four superimposed pictures); but the complexity of texture, multiplicity of tone, and the variety of interrelated rhythm, suggest symphonic dimensions. The film is very inspired by George Melies: the animals exist (in Jane's enclosure) as on a stage, their interrelationships edited to the disciplines of dance, so therefore one might say this hardly represents "animal life on earth"; but I would argue that this work at least epitomizes theatrical Nature, magical Creature, and is the outside limit, to date, of my art in that respect. (The balance-of-light was so perfectly realized in making the neg. of this print that I wish to credit Western Cine Lab's "timer" Louise Fujiki as creative collaborator in the accomplishment of this work.)

In Common observes the life of a garden planted on a "vacant lot" in Los Angeles. As the days and seasons cycle through a year, different tempos of life exist in counterpoint. The gardener's rhythm of work, as she grows and harvests food, accompanies the scurrying of small creatures in the garden, the play of weather and light on the hillside, and the hurtling of cars across the city on the freeway below.

In Brice Bowman's film "Sand", the principal issues are the manner and persistence of the sociological collective unconscious being forwarded through time by way of the surviving generations which survive as personal contributions to the collective unconscious.