” W I L D E R N E S S O F M I R R O R S
CONNECTIVITY THROUGH CINEMA WITH PAUL CLIPSON * IN PERSON*
SATURDAY DECEMBER 19, 2015 @ MICROSCOPE GALLERY
1329 WILLOUGHBY AVENUE #2B, BROOKLYN. OFF THE JEFFERSON L TRAIN
DOORS 7PM – SHOW at 7:30PM – $8 SUGGESTED DONATION – FILMS, DRINKS & DISCUSSION.
Total running time, 60 minutes. Additional time for discussion / Q & A with the artist
MONO NO AWARE is excited to welcome Paul Clipson back to Brooklyn as part of the CONNECTIVITY THROUGH CINEMA screening series. Paul’s films present multiple planes of reality and daydream simultaneously. Brilliant colors and kinetic patterns blow light back onto viewers as if projected onto a reflective surface. Bask in the warm light with of this contemporary program of films shot on Super 8mm and 16mm film.
ORIGIN (2012) Super 8mm, 9 min., music by Che Chen
ABSTEIGEND (2012) Super 8mm, 7 min., music by Evan Caminiti
PULSARS E QUASARS (2014) Super 8mm, 5 min., music by ARP (Alexis Georgopoulos)
LANDSCAPE DISSOLVES (2012) Super 8mm, 6 min., music by Jefre Cantu-Ledesma
BRIGHT MIRROR (2013) Super 8mm, 9 min., music by Jefre Cantu-Ledesma
OTHER STATES (2013) Super 8mm, 6.5 min., music by Jefre Cantu-Ledesma
LOVE AFTER LOVE (2014) 16mm, 5 min., music by Jefre Cantu-Ledesma
DISPORTING WITH A SHADOW (2015) 16mm, 4 min., music by Alex Cobb
THE LIQUID CASKET / WILDERNESS OF MIRRORS (2014) 16mm, 9.5 min, music by Lawrence English
MADE OF AIR (2014) 16mm, 11 min., music by Grouper
“My approach to making films is to bring to light subconscious preoccupations that begin to reveal themselves while filming in an improvised, stream of consciousness manner. Aspects of memory, dreams and recordings of the everyday are juxtaposed with densely layered, in-camera edited studies of figurative and abstract environments vast and small, all within a flowing formal and thematic experimental aesthetic that encourages unplanned-for results. Maintaining a predominantly intuitive process in conceiving and creating films, where improvisation, utilizing mistakes, and “wrong” images (for example images that are overexposed or out of focus) are part of my filmmaking methodology, I’m less concerned with a preconceived end result and more with being immersed in a visual exploration of the moment. I employ a mainly handheld camera, often set at the two extremes of the focal spectrum, macro and telephoto (extreme macro close-up, extreme long shot), which maximizes the saturated textures of Super 8mm, the format I most frequently shoot in. The films are a personal recording, like a diary or essay, rendering color, light, focus and shadow in many forms, in the hope of allowing for un-thought, unexpected elements to reveal themselves.“ – P.C.
MONO NO AWARE’S SCREENING SERIES:
The CONNECTIVITY THROUGH CINEMA series will present the work of artists, film-makers and curators who are traveling or presenting special interactive programs in-person. Our hope is to engage the community by showing work with a focus on post-screening discussion.
This event is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).