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What compelled you to make this piece? How does this work address issues that are important to you or close to your heart?
I made the piece for personal reasons -- in order to examine an unresolved
relationship which has haunted me for years. My goal was to make a piece which expresses loss in all of its contradictions.
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| From PHYSICS OF LOVE. |
In including your work in REEL NEW YORK, do you think your piece in any way pushes the medium of television, or the viewing audiences' expectations of that medium?
I don't think my video work pushes any envelopes formally, but I hope that
it challenges the urge toward resolution which most narratives embrace.
What about access to the tools of production and post-production?
I haven't been a media maker long enough to be able to know if/how access
has changed. Not being affiliated with an an institution makes access more
costly, but I am a member of Millenium Film Archive, The Standby Program, and
Film Video Arts, and try to use these resources, which are helpful to
individual artists without much funding. The shift in technology has made a
difference in the quality of post-production, and the speed at which I can actually work.
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| From PHYSICS OF LOVE. |
Why did you become a film/video artist/maker?
I came to film/video from a photography background, where I hit some of the
limitations inherent to the medium. I was interested in telling stories and
more complex narratives than photography was allowing me to do.
Do you feel the New York independent film/video community has changed in recent years? Do you find support living and working in such a large community of artists?
I think people in the New York film/video community are exceptionally generous
and supportive of one another. There is less and less grant money out there, and of the three grants I have recieved (New Jersey Arts Council, Mid-Atlantic, and Lyn Blumenthal), none are still giving money to individual artists to make work. Despite this, there is still a lot of support from people in the community.
Do you have any interesting behind-the-scenes stories about the making of this particular work?
Nothing amusing, except that most of the film was shot in my bedroom, as I
have no studio. My entire family makes an appearance in the piece; my 70-year-old aunt reads some of the voiceover, her grandchildren are in it, too, and my
father makes an appearance. None of them ever really know what I'm up to, they
just go along with me because they think of me as the freaky artist in the
family.
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