I began taking photographs in my early 20s, using analog cameras. In my 30s I began making experimental films in super-8 and 16mm. My interest in sound for film eventually led me to field recording and working with noise and drone synthesizers.
Recently I have been using a modular synthesizer and effects pedals. Because the components of the instrument (modules) can be connected in novel, temporary configurations each time, this way of working is akin to creating a new instrument with each new performance.
As with my landscape films, stillness is a defining characteristic of my music videos. The only movement might be blinking lights on the instrument or the brief appearance of my hand.
Attending equally to sound and image shifts conventional filmmaking practice which tends to put sound (especially music) in the service of the visual, supporting a narrative and heightening emotional responses, effectively placing sound into the background. My work aims to put sound and picture on a more equal footing.
I want to create a space outside the incessant, predictable, linear momentum of narrative. I’m looking for a space for listening — for sensation — without the cause-and-effect strictures of linguistic thought. The repetition characteristic of minimal music creates an openness, bringing attention to the act of listening itself. Sound, immediate and ephemeral, is always experienced in the ‘now.’ And where we might hold an image at a distance, sound is always immersive. It is an invitation to be present.