Deborah Cole

"Piano Dance shows the viewer a shadowy piano accompanied by the sound of piano music. The piano is then seen to be a toy, the headdress of a woman with hollow eyes and a pasty face who moves like a marionette in a weird dance. She is dressed as if she were a cabaret performer in black tie and tails and white gloves. The images whirl and the piano is both large and small as the camera sees it in varying scale. The protagonist does not appear to move of her own volition but by the will of another. Her dance fades, not because it is over but because we are no longer privileged to see it. One feels that it continues eternally." — Barbara Sharres, "Trance Occurrences," Chicago Reader, January 15 1982.

ca. 1980-81, 4 min, Super-8mm. "In Blue Aura, a man and woman are asleep in bed. The dream begins with a crudely made, whirling paper spiral and the woman is twirled out of bed to her strange mission. The man remains in his own unconscious ritual, looking like a Byzantine saint in face and form. The sheets rise to either side of him in stylized drapes and fall across his body in curving pleats. The dream continues and the man joins the woman, but as if in a separate dream of his own. The film ends but the dream does not seem to; the man and woman are trapped in this half-life and dream on." — Barbara Sharres, "Trance Occurrences," Chicago Reader, January 15 1982.