CINEMA – Long Term Storage1:64,000,000,000SHADOWBOXCome Home

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EXPANDED – Time SymmetryCENTRALCanadian Frame(lines)The Chase!


Long Term Storage

video tone poem (2016)

I don’t have anything to say about this, other than that it was conceived of on a beautiful spring day in a subterranean parking garage. This is the first of what will hopefully be many art features for Discorder TV. Thanks to Sam Tudor for publishing it, and to Michele Smith for lending the TV.


Time Symmetry

16mm loop installation, B/W, silent (2015)

The line is probably one of the most universal and useful building blocks of cinema. When we speak of a story, we speak of “through lines”. Film frames are divided by frame lines, and video is composed of raster lines. A strip of film itself looks an awful lot like a line. And perhaps the most important of these, at least to an audience member who arrives late to a crowded theatre: the line of sight, which is how film entwines itself with us.

“Time Symmetry” is a meta-reflection on the medium of cinema and its ability to translate, dismantle, and reconstitute thoughts and images. Because the connection to the line is superficial, as if we were viewing an endlessly complex painting edge-on. In reality, this piece is a playful preface to a series in development of 16mm expanded cinema work that addresses the less-prominent characteristics of the ways in which we experience and describe time.

I am happy and honoured to say that this piece received the Carole Badgley Emerging Artist Award at the Seymour Art Gallery’s “Discovery: LINE” exhibition.

Another aspect of the “Discovery” series at the SAG is the “Poetry Meets Art” event. Local poets come together to make work inspired by the show, and I was interested to find this piece figured heavily in two of them. I’m proud to post Alan Girling’s here (and I really wish I had come up with the title “quivering monolith”) with my great appreciation.

Poem by Alan Girling


3x16mm projection, B/W, optical sound (2015)

A short multi-channel film exploring a couple of ideas about the end of the world as per Iris Film Collective’s group “End Of The World” film commission, this project was undertaken on Orwo PF2 black and white print film and consists of manipulated versions of fingerprints made on clear leader. When I was feeling philosophical, I wrote this about it:

What is a unique identity in a world where so many already exist? Does the question of the “end of the world” really infer a loss of a sense of selfhood? And in a more practical sense, will humans as a species overwhelm the planet’s ability to support us by sheer reproductive force?

Read the whole thing here, and/or watch video of its premiere screening below:

Or its single channel form:



photo/text essay (2015)

Originally published in the May 2015 issue of the Vancouver music/arts magazine Discorder, “Central” is a collaboration with Alexandra Caulfield that examines the detritus of mid-century car culture on Route 66 in Albuquerque, NM.

Central_Apr2014_FINAL-1 Central_Apr2014_FINAL-2



short film (2015)

A man, lost in the disjunction between a joke and its punchline, tries to escape the physical void space in which he is trapped.


Stars Adam Lolacher, Katherine Ramdeen, Eva Breternitz, and Alex Draghiescu, with special appearance by Kelsey Savage. Shot in 16mm on expired Kodak 7219 500T.


Come Home

feature documentary (2015)

This feature documentary is the first for me and Alexandra Caulfield. Shot on the road while we were travelling in Newfoundland in 2013, it is a personal study of what home and place mean to different people. To no one is this subject more apparent than it is to Newfoundlanders–their home island has been a net exporter of people every year since the Napoleonic War. Yet a strong connection remains, and it is that connection that we probe in this film.



Canadian Frame(lines)

community film workshop series and exhibition (2012 – 2014)

Alexandra Caulfield and I founded Canadian Frame(lines) to bring filmmaking skills and techniques to people of all ages in small and rural communities across Canada. Over the course of 2013, we travelled in our RV/workshop to every province to teach workshops on black and white Super 8mm film, which our participants shot and processed themselves for free. The end product of this project was a gallery installation of ten projections, which showed all of the films produced.


More information is available at Canadian Frame(lines) on Facebook.



The Chase!

3 projector 16mm loop installation (2012)

The Chase! arose from research I did in my final year at Simon Fraser University into the first twelve years of cinema history, sometimes called “Early Cinema.” The fascination with technology, the emphasis on spectacle, and the determination of individual exhibitors to out-do one another and compete for audiences with their own enterprising contraptions spoke to a sense of wonder that I have always had for the medium. I designed and built this installation in the style of those early entrepreneurs and showed it publicly for the first time in a storefront (the late Trench Gallery) just steps from the storefront where the first movies in Vancouver were ever shown.




short film (2012)

A film in which a woman and her pet lemon tree try to save their city from a corrupt politician, a nefarious prestidigitator, and their scheme to redefine the inch.



Gutter Standard

short film (2010)

Two men ponder their empty city until the arrival of a third man throws their normal interactions into chaos.