Originally trained as a photographer, New Zealand-born artist/filmmaker SJ.Ramir later moved to digital video – shooting scenes of lone figures moving across remote and isolated geographical landscapes.
The prominent style of his short films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with his films central theme of isolation.
Ramir’s distinctive films have screened at numerous film festivals worldwide including Departure (2007), Our Voices Are Mute (2008) and Into Daylight (2009) at the International Film Festival Rotterdam; Cold Clay, Emptiness… (2010) at the 67th Venice International Film Festival and Disquiet (2011) at the 60th Melbourne International Film Festival.
He currently resides in Melbourne, Australia.
“The theme I explore in my films is that of journeys – both physical and… read more
Originally trained as a photographer, New Zealand-born artist/filmmaker SJ.Ramir later moved to digital video – shooting scenes of lone figures moving across remote and isolated geographical landscapes.
The prominent style of his short films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with his films central theme of isolation.
Ramir’s distinctive films have screened at numerous film festivals worldwide including Departure (2007), Our Voices Are Mute (2008) and Into Daylight (2009) at the International Film Festival Rotterdam; Cold Clay, Emptiness… (2010) at the 67th Venice International Film Festival and Disquiet (2011) at the 60th Melbourne International Film Festival.
He currently resides in Melbourne, Australia.
“The theme I explore in my films is that of journeys – both physical and metaphysical. These journeys are dramatised by the movement of anonymous figures through isolated landscapes – alluding to both the isolation of the individual, and isolation of place.
These journeys represent many things; a search for personal identity, nationhood or community. Often structures or houses appear in the distance, and are used as metaphors to represent mankind/society (and the offerings of society; from collective philosophy, values, morals, through to religion) and memories and needs. The figures approach, explore, and ultimately depart these structures.
The final act of the figures leaving the structures and walking away, represents an absolute rejection of what is being offered by mankind/society.
It is crucial in my work that for these wandering figures, no destination or resolution is ever reached, as this reaffirms that the very act and motivation of journeys is about an unsated quest, desire or need.”
