Child subverts the truncated language of conventional narrative cinema by interjecting title cards à la silent cinema as ironic counterpoint and uses a dialogue between two poets, Carla Harryman and Steve Benson, to confound any consistent hypothesis. A sexual politic steeped in deception, a story only half revealed. Here rupture and repetition comprise the structuring principle. The film explodes in your face: it drives on until its final image, a summation of its prehistory, history and future – a tree being uprooted. What could be a more apt metaphor for the contemporary crisis in narrativity and sexuality? — NY Native
Abigail Child is a film and video maker whose work in montage and sound/image relations pushes the envelope of film/video with humor and ephemeral beauty. Her films explore mixed genres and strategies for rewriting narrative, as well as investigating public space through memory and history.
Recently, Child has turned her signature vertical montage to installation, creating prismatic interruptive and haunting narratives at galleries across the country and world. These include The Walker Art Center, Minneapolis, Minnesota, (March 2006); Philosophy Box, New York City, (June 2005); Radcliffe Institute, Agassiz House (May 2006); and in Manchester, Leeds, Norwalk and Sheffield UK this fall and winter 2007-08 as part of the “Dziga Vertov Project”.
Child began filmmaking in 1970 as a documentarian, producing seven independent 16mm documentaries between 1970 and 1976, among them the award-winning Game (1972) and Between Times (1975). In the mid 70s, Child began to produce experimental… read more