Intermission, 16mm, colour, silent, 5 mins 39 secs; double exposed colour 35mm, colour 35mm reversal and 35mm 500T motion picture stock. Thank you to artist Morwenna Grace Kearsley. Dedicated to artist Cheryl Meeker.

The film, an artifact of lockdown, should feel quite tense, still, boring even, it is made of entanglements of loneliness, rawness, concentration, productivity, chance, being alert, being alien, poisoned edges, but also queer enchantments, spells to conjure queer company, speechless responses, recruitment of past images for the present tense, mirrors, refractions, reflections, probably hope and hopelessness too, trying to see the movement of tides in a glass of water, evaporation and flowers deteriorating into more beautiful states, the undramatic,  aging is a beautiful act.  It also observes on 16mm film and the indiscernible – water evaporation, flowers wilting, spells being written for the camera and references Joao Maria Gusmao & Pedro Paiva’s 16mm film Benguilno putting a spell on the camera, 2011, and Marinella Pirelli, Bruciare (Burn), 1971. Something is being motioned between the lens and the eye. It’s also a work on the colour red, inspired by a series of actions by artist Morwenna Kearsley collaging scenes from cinema, Don’t Look Now (whose Italian title translates as “In Venice… a shocking red December”), Nicolas Roeg, 1973, for example with more benign images of red. Red being universally a color of love and high alert. Both some might suggest aspects to the same emotional experience. Intermission.