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. Prioritizing sound over image inverts conventional filmmaking practice which tends to put sound (especially music) in the service of the visual, such as supporting a narrative or heightening emotional responses, effectively pushing sound into the background. My work puts 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 attend.