Its memories are not its own. An otherworldly vision of the power of light and the weight of planets.
"EYES AT THE SPECTER GLASS refers to our perception of reality and how we catalog life events through memory, bias and time. The lens of our eyes and the ghost at the lens are trying to interpret the journey. The film imagines the memories of a collective of consciousness filtered through a singular explorer whose entire bias is its own billion-year journey through the cosmos.
The film took around a year to animate and edit. The whole film plays chronologically just as it was animated. I did not reference one scene to the next and often a month or more would go by between the completion of one scene and the beginning of the sequence following it. Because I did everything (concept, design, animation, editing, grading and music) it is a uniquely singular project of my memory and film as an overly simplistic chronological exploitation of the human mind." - Matthew Wade
A series of surreal titles are rapidly alternated with cut-out animation. The titles are often simple and the words and images combine easily into an eerie flickering superimposition. Lawrence Jordan was interested in pressing this technique to the limit of informational overload. Sometimes the e...
FLOWERS OF THE SKY (a medieval term for comets) draws on two panoramic photographs found in a Los Angeles thrift shop that depict a gathering of members of the Eastern Star, a Masonic order. In the first photograph, taken at a banquet meal, the participants are seated at tables and face the camer...
In the THE FORTY-AND-ONE NIGHTS, painter and collage artist Jess (Collins) performs his "Didactic Nickelodeon" of forty-one (now lost) collages to (his) selected sound bits in the manner of a turn-of-the-century cinematic jukebox.