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Experimental video art shot in the Wallingford neighborhood of Seattle

motion capture choreography simulated against motion capture choreography

Beijing

Experimental short animated film by Péter Molnár

Minimalist, geometric shapes are set to processed found noises in a film that takes familiar noises and makes them strange.

Experimental video art compiled from video taken on an LG Env3 flip phone circa 2009-2010

Experimental self portrait

A funeral car cruises the streets of Medellín, while a young director tells the story of his past in this violent and conservative city. He remembers the pre-production of his first film, a Class-B movie with ghosts. The young queer scene of Medellín is casted for the film, but the main protagonist dies of a heroin overdose at the age of 21, just like many friends of the director. Anhell69 explores the dreams, doubts and fears of an annihilated generation, and the struggle to carry on making cinema.

Filmed at Masonboro Island, an undeveloped barrier island in southeastern North Carolina, “Tides” contemplates the liminal space between the modern technological world and that more ecological dimension we label as “nature” or “the environment.”

A mixed media experimental animated film that generates a fragmented view of the world through the partial disclosure of a fantastic event. Day-to-day mystical, trivial and important activity is represented using reoccurring symbolic triggers, both visual and aural.

Exploring the conscious, the unconscious and the self, By Winds and Tides takes a deep experimental dive into the birth of an idea—how it takes shape, how it is released. An allegorical quest, the film combines images and words into a singular sigh.

A drawing of an ancient bathhouse in a French travel book to the Middle East sparks a visual poem, inspired by the Arab poetry tradition of "standing by the ruins". The ambivalence of the five-hundred-year-old image gestures towards enduring capitalist and colonial power dynamics. Pleasure and pain, seduction and domination, archives and ruins, histories of sex, and histories of empire, all commingle in this essay film. What transpires is a web of visible and invisible threads where homosexuality in the Middle East today seems to be enmeshe

In a lifeless urban landscape where time itself has stopped its crawl, a mad ballet is commencing and a newly hatched butterfly is about to die.

A trans Vietnamese woman's deadname being repeated over and over again.

"We are powerfully imprisoned by the terms in which we have been conducted to think.” - R. Buckminster Fuller

“All that which in Picture is not of the body or argument thereof is Landskip, Parergon, or By-work” (Thomas Blount, Glossographia, 1656).

Set at an artificial reservoir in North Carolina, RESERVOIR (SEVEN FRAGMENTS) is a meditation on the unnatural histories of the American environment. The film approaches both the cinematic image and the landscape it captures as damaged, estranged things—things adrift in a world of irreparable discord.

Filmed on 16mm film, this visual expression is rooted in its archival materials and backed up by the poem by Hans Magnus Enzensberger. It speaks of the forgotten people, their lives and their deeds. These two Archives have been found on the flea market in Zagreb. One is of a famous architect and the other one is of a famous composer. This film ponders on this occurrence, on the vanishing of and forgetfulness of humans.

E3 (∞, E = eternity, 3 = 3 month) is the first work trying to capture my drawing and painting style into a moving picture. It captures the beginning, with all its enthusiasm, energy and more or less sub-conscious hope that things develop differently in a new space. Followed by the phase were everything slows down to finally result in a complete breakdown into everyday life. This cycle happens over and over again, in all scales, in all relations … sometimes it can be a cozy, pleasant state … while other times it seems like Don Quixote, fighting against windmills …

The corner of a street is matched and mixed with the chant of a bird recorded on that same street. A symbiotic relationship is triggered: the rapid and successively repetitive montage cuts between the image of the street and the corners of the video frame itself produce new textures and shapes in our brain, whilst the sound follows the same rhythmic movements by emphasizing different “corners” (frequencies) from the bird’s singing. The energetic potency stemming from the junction of these elements creates a new image that is almost tactitle, maleable and rippling. The result is a somewhat humorous operation of the portuguese word "corner" throughout the different stages of making the piece, finally unveiling a piercing physical and kinetic experience for all the corners of our eyes and ears.