I am interested in the physical aspects of film, the relationship it has to its own projected image, and the context of its presentation. The films are conceived as silent movies. When shown in site specific situations the ambient sounds of the presentation space and the projector itself become the audio track. My use of film as a means of reproduction and presentation is specific. When used in an installation context the film is present as an object, but simultaneously is a projection of itself -- its presence is both real and a flickering illusion. To reinforce this no titles or credit information accompanies the films. I want them to be viewed as entities unto themselves with no references to their production.

In most instances older, circa 1940 - 60s, projectors are used in the film loop installations. These projectors are preferred because of their eccentric personalities in regard to visual presence and abuse to film footage. The installations, for the most part, are meant to be screenings, hit-and-run events, as opposed to long term exhibitions. However, when used in long term installations multiple copies of the loop is provided and a person is trained in the fine art of baby sitting a cranky film projector. In either context the film loops, regardless to final condition, are retained for reuse in other projects; i.e. photographic prints, book works, or reliquaries.

Sex Machine Film Loops:
Sex Machine #2 (The Green Venus), 1995
Sex Machine #4 (Scale Model of Uranus - Rising), 1996
Sex Machine #16 (Blue Vessel - Duet), 1996
Sex Machine #16 (Blue Vessel - Chalice #1), 1996
All 16mm, color, silent

Sex Machine #3 (Dervish), 1996 *
16mm, b&w, stop-action animation, silent

Sex Machine #16 (Blue Vessel - Chalice #2), 1996
16mm, b&w, silent - illustrated far left

Film Loop Installations

The Green Venus, 1995
film loop installation; 16mm film projector, 8 second color silent 16mm film loop, child's chair, stool and mixed media dimensions variable
Machine Shop, Cincinnati, Ohio

Half & Half, 1997
film loop installation; 16mm film projector, 8 second b&w silent 16mm film loop, chair, stool and mixed media dimensions variable
Dileia Contemporary, CMC, Cincinnati, Ohio

*In addition to being used as an element in installations the film loop Sex Machine #3 (Dervish) has been inserted into a conventional film screening as an anonymous transition between works by other film makers. During the screening, as part of the series Contemporary Film at the Everson Museum of Art in 1997, it was presented by fading out of and in to black between films.

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