A tone poem. As haunting as the place where the footage was recorded. An image appears on screen, often with the “memory” (photo-memory) of a previous image/sound. It messes things up a bit, creates a new configuration. In our everyday lives we do it all the time (project), but here, in this work, it is “created,” and the work takes on a moody, evocative, interpretive character; blurring definitions of objects and spaces, mixing opaque with transparent, large with small, one activity/image/space with another. Often creating a rich tapestry that cannot be totally picked up on a single viewing. Yet for all that, there is still a certain kind of logic and coherence. —Ernie Gehr
Ernie Gehr (born 1943) is an American experimental filmmaker closely associated with the Structural film movement of the 1970s. A self-taught artist, Gehr was inspired to begin making films in the 1960s after chancing upon a screening of a Stan Brakhage film. Gehr’s film Serene Velocity (1970) has been selected for preservation in the United States National Film Registry. Gehr served as faculty at the San Francisco Art Institute. His films are distributed by Canyon Cinema in San Francisco. —Wikipedia
Ernie Gehr: fully developed, partially exposed. Gehr’s digital lacings.