Three Studies of a Nightingale

Two figures —an angel bathed in light and a widow veiled in mourning— mirror each other’s gestures. Through the interplay of costume, color, and hand-drawn intervention, Emerge & Fade explores how innocence and disillusion coexist and transform one another.

A wall-painting on Earth is too terrifying to exist, so unknown forces remove it.

"When Mollie's routine between a real and surreal gets interrupted by an uncalled visitor, the line between reality and dream blurs."

A weary hitman— who must bash his own head with a hammer in order to enter a murderous state of parasomnia— is promised freedom from self-mutilation upon the completion of one last hit job.

To cope with a grieving process, Eli creates his own pink musical paradise, full of neon lights and a lot of gayness.

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

The wind carries an aspiring healer into a chaotic, virulent parallel world. Paralyzed by a familiar universe that is gradually becoming distorted, she discovers she has the power to stop time.

Experimental movie, where a man comes home and experiences LSD. His kaleidoscopic visions follow, with readings inspired by the Tibethan Book of the Dead.

Models are seen licking brightly colored candy on a sheet of glass. The video illustrates the moment where clarity becomes abstraction and beauty commingles with the grotesque.

Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.

Memorial

In the dining room of the abandoned house a white, faded entity feeds on her pieces. Memories keep her here and time transforms her into something new.

An unknown entity closes in around John, keeping him trapped inside his house. The only thing protecting him from being crushed is the Pomodoro timer ticking down on his kitchen table.

Pandemonium

When Adrian's friend denies him a loan of money, a rampage of thoughts starts within him. Why won't Jacob lend him any money? And why won't he lend any to him, specifically?

A winged creature begins the precarious return from the city to the forest. There she will meet a group of mysterious beings who guide her to the heart of the forest. Step by step, they push her to transform, to leave herself behind. What happens when you decide to return to the forest?

The model’s feet are uncomfortably squeezed into the heels, and her movements are slippery on slick silver liquid, before she slowly and ominously destroys the glass pane separating the subject from the viewer.

Placing a word widely acknowledged as amongst the most offensive in the English language into the hands of each of the women in her video, Minter reclaims it from chauvinistic associations and rescues it from centuries of censorship and degradation.

The portrayal of a gargantuan baby splashing through silver paint.

The word “me” sinking into a bubbling puddle of metallic goo. The piece is about how narcissistic artists have to be to make their work, but by admitting their narcissism, they can at least take some steps to control it.