Day 1 > Matthew McDermott

Gravity’s Law – 6:18 TRT

‘To fall, patiently to trust our heaviness’

Inspired by Rainer Maria Rilke’s poem ‘Gravity’s Law’, McDermott taps into themes of meditation and nature in a deliberate response to the overload of information in modern society.

MATT MCDERMOTT — Freelance Director and Design Director based in London. Matt is an award-winning Director based in London specializing in live action, VFX, motion design and animation.

He’s directed high profile TV commercials, broadcast campaigns, channel branding and idents, music videos and short films for clients including; Evian, Olay, Virgin Media, Nokia, BT, Heineken, Western Union, Ministry of Sound, McLaren, Snog Frozen Yogurt, Laterooms.com, Sharps, Harveys and Dunelm. Matt has worked with leading agencies and broadcasters including; BBC, Red Bee Media, Sky Creative, ITV, Channel 4, The Mill+, Mainframe, Karmarama, Kream, Krowd, AMV BBDO, McCann, Mcgarrybowen and AKQA London and directed multiple TV campaigns for the BBC including; BBC Proms, Glastonbury, BBC World News and BBC Four.

Matt has recently directed a short film inspired by Rainer Maria Rilke’s poem ‘Gravity’s Law’, commissioned by Channel 4 Random Acts and shot on location at the Barbican Centre in London. ‘Gravity’s Law’ has been screened at The Barbican cinemas and featured on The Creators Project, Fubiz, David Reviews and is a VOTD winner.

Matt is spotlighted in the Young Director Awards and his work can be found on David Reviews, The Creators Project, Fubiz, VOTD, LBB online, The Barbican and Creative Review.

www.mattmcdermott.co.uk

Day 2 > Tao Ho


Insomnia – 7:11 TRT

Insomnia: I have been suffering from insomnia for 7 years after I started to live by myself back to 2010.

Three years of complete solitude state.

Every night, staring at the ceiling, lights coming from outside that changing the shape of the space, hearing sound from the surroundings, my heart beat and pulse, thinking everything but nothing. Finely divided pieces of dialogues, faces, sounds, smells and tactile impressions appear in my mind intermittently, related and unrelated. Like being involved in a vortex, constantly rotating in the endless fragments of memories. And then I gradually lose my consciousness; fall asleep with my heavy breath.

Relevant antecedents are what make up my ideas, which are natural; not forced. Fragments, traces, blurry initial impressions from the day-to-day usually appear in my mind spontaneously, transiently or long lasting. All of the unnamed fragments became the origin and the instinct of my work. To me, it’s a way to perceive the inner heart and a projection of psychology through the process. Utilizing the framework of art practice helps me to understand my own nature.

As a person who came from the east with the experience of geographic displacement and time limitations, the past two years have been the most unique of my life. Now at a fresh turning point, the time has come to re-examine the origin of my thought, as impermanence and instability become the subtext of my work.

Analog photography occupies most of my work. After I finished combing over the minutiae of all my negatives from the past seven years, I progressively found clues from those negatives, which weren’t dated.. Although the meaning of the photograph may or may not appear immediately, it will appear in a specific state, and will present in a specific way. The “Past” not only creates the “Present”, but also obtains different meanings through the different interpretations of the present. Through searching negatives from now and the past, I look for clues from various moments and scenes, via my subjective processing in the darkroom, to create my own “Present”.

My photography relates to the connection and transformation of time, space, experience and perception. It contains past and present, death and life, pains and promises, the instant and eternal.

TAO HO is a photographer and musician original from Canton, China. After he finished his BFA degree of Traditional Chinese Painting in 2010, he switches his direction to photography. He received his MFA degree from Maryland Institute College of Art in 2016. He currently living and working in Baltimore, Maryland. His work based on analogue photography and darkroom related, video, also composed music and sound as his side-project as well.

Day 3 > Dan Browne

Memento Mori (2012), 28:28 TRT

A meditation on (im)mortality, mediated by a lifetime of images, memento mori is a layered time-lapse exploration of the total photographs captured in a lifetime (over 100,000), inspired by the evanescent interactions of memory with the archives that have come to pervade all space within the contemporary era. Images are blended to combine subjects, objects, percepts, dreams, and experiences, forming an encyclopedic index of sight at the speed of light. Constantly subject to transformation and flux, these fleeting impressions echo the acoustic nature of electric environments, wherein space is transformed from a fragmentary visual field into a pulsating, vibratory, and integrated sensory experience.

“A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.” – Jorge Luis Borges

A meditation on (im)mortality, mediated by a lifetime of images.

DAN BROWNE is a filmmaker, photographer and multimedia artist whose works explore patterns and nature through dense and kinetic forms. His films and videos have been presented at over one hundred festivals and venues, including International Film Festival Rotterdam, Diagonal Film Archive, Centre Georges Pompidou, Festival du nouveau cinéma, TIFF Cinematheque and Early Monthly Segments. His film memento mori (2012) received the Jury Prize for Best Canadian Work at WNDX Festival of Moving Image, First Prize at Athens International Film + Video Festival, and the Deluxe Cinematic Award at Images Festival. Most recently, Poem (2015) was released on Graphical Recording’s Variations disc and received the Trinity Square Video Award at Images Festival. Dan’s media practices also encompass live performances in collaboration with musicians at events such as MUTEK and Vector Festival, and video installations that have received public commissions in Toronto and Vancouver. He has also collaborated with many other Canadian filmmakers, including Peter Mettler, Michael Snow, Carl Brown and R. Bruce Elder. Memento Mori has won the following awards; Best Canadian Work, WNDX Festival of Moving Image (2012), First Prize (Experimental), Athens International Film + Video Festival (2013) and Deluxe Cinematic Vision Award, Images Festival (2013). He lives and works in Toronto.

www.danbrowne.ca

Day 4 > Allison Hunter

The full-length version of “Open Your Eyes” is 3.5 minutes.

“Open Your Eyes” is an experimental video that follows a woman’s journey through the reverse process of hypnotic induction. Old memories haunt her new living space, but the presence of her faithful dog keeps her from slipping too far into the past.

This latest video by Allison Hunter explores a nonlinear narrative that reflects the outer self contrasted with inner thoughts. Scenes cut between still photographs and domestic interiors. The hypnotic ticking of a clock provides a soundbed that grounds the audience within a filmic space tinged with anxiety.

ALLISON HUNTER is a visual artist who over the past twenty years has worked in photography, video, drawing, sculpture, and installation. Born and raised in New Jersey, Hunter left the States at age nineteen to pursue art studies in the French-speaking Canton of Vaud, Switzerland. She earned first MFA at the Cantonal Art School of Lausanne, Switzerland (1990, Drawing/Photography), and returned to the US to earn her second MFA at Rensselaer Polytechnic Institute in Troy, New York (1997, Electronic Art). Hunter has participated in video and sculpture art residencies at institutions such as the Banff Centre for the Arts in Calgary, Canada and the Hermit Center for Metamedia in Plasy, Czech Republic. Hunter’s installation project, IGNMAKERS (1998-2003), was commissioned by three European sculpture centers in Lithuania, Latvia, and Finland, and by the 2003 Kingston Sculpture Biennial in New York. Hunter’s photographs on industrial landscapes are collected the University Art Museum at SUNY, the Albany Institute of History and Art, and the Center for Photography at Woodstock. Her New Animals series is collected by the Museum of Fine Arts, Houston and has been shown in numerous exhibitions in the U.S. and Europe, including at the Kohler Center (Wisconsin), Project 304 (Bangkok), Künstlerhaus Mousonturm (Frankfurt). She has had solo exhibitions at the North Carolina Museum of Art (Raleigh), Women & Their Work (Austin), and DiverseWorks (Houston) featuring her Zoosphere video installation. Hunter has been a full-time faculty member as Humanities Artist-in-Residence in the Department of Visual and Dramatic Arts at Rice University since fall 2012. She lives and works in Houston, Texas.

www.allisonhunter.com

Day 5 > Annlin Chao & Tom Rosenthal

“I love every fraction of you; yet every fraction, make both complete and incomplete you.” A story of missing a girl.

The official music video of Tom Rosenthal “Lead Me To You”.
Written and directed by Annlin Chao.
Dance/ Choreography by Carys Staton
Videography by Mick Lin
Makeup/ Dressing by Phebe Wu

ANNLIN CHAO is a free lance animation director and illustrator based in London and Taiwan. Works include animation, illustration, and installation. Graduated from Royal College of Art, London, in 2014. Currently live in London. Clients include Channel 4, National Palace Museum Taiwan, Twinings, Delta Heavy..etc.

www.annlinchao.com

Hello my name is TOM ROSENTHAL. I live in London, have 2 young daughters, and I write songs. I’ve released 3 albums to date, and the 4th is coming in Spring 2017. Aside from the main albums, I’ve released a trilogy of EP’s and one underrated Christmas single.

tomrosenthal.co.uk

Day 6 > Paula Moxham Imirzian

P2498 – 3:24 TRT
Sound: James Imirzian

The stop motion animation P2498 explores, via the use of paint, fluids and plastics, the idea that scientific endeavors categorize and investigate the body, and the environment, as a new space and frontier to explore. The numerical categorization seems arbitrary yet suggests that someone somewhere understands the meaning, and is marking time and place in this strange environment. The sound component created digitally emphasizes the unknown aspect of this world we are viewing, and does not attempt to help orient us to time and place.

PAULA MOXHAM IMIRZIAN holds an MFA in visual art from Vermont College of Fine Arts and is a British artist living in the US. She also has a background as a pediatric nurse, which has influenced and informed the scientific side of her art. Her work resides at the intersection of biotechnology and art as she investigates the body and its environment, with a focus at the molecular level. She is concerned with how we humans – as well as the organisms around us – can be manipulated and controlled at the cellular level without our full knowledge and perhaps changed beyond repair. She works in many mediums; ink, paint, stop motion animation, and digital painting. Her work is exhibited nationally and internationally.

Day 7 > Scott Turri

The Longing Ritual – 4:10 TRT

Throughout my career, the concept of synthesis has been central to my work. Perhaps because of my natural curiosity and a wide range of interests, there has always been a desire to somehow cobble together an assortment of components by transforming and fusing the parts to create something that is hopefully greater than its sum. This is an exercise that I repeat within a changing set of variables. It is a cycle where the intersecting spheres of history, personal history, and art history become the raw material for outcomes. Output is generated from snippets derived from our visual language, which are transformed by technology and then spliced together digitally. These snippets like samples; either found and manipulated or created, become parts which function as my set of variables. The source material is generated from my private and public domain including digitally manipulated photographs taken from both the natural and built environment.

Most recently, in my latest series The Longing Ritual the focus has been on the nature/culture continuum, in particular the search for real experience and a connection to the natural world. By using imagery from various personal rituals connected to cycles of repetitive behavior; the work represents a synthetic place where barriers interfere with direct experience. Photography, film, now virtual worlds are often the substitute and have become the closest we can get to the real thing. My work is meant to mimic this phenomenon. I am deeply interested in how as a culture we see through these different lenses including photography, film and the digital device. Because my imagery is either invented, altered, and or taken out of its original context, it then functions in a realm that is not solely dependent on its connection to language. So, although the work is grounded in place, the experience for the audience is more ephemeral. It is linked to the nature of memory and how we construct meaning and identity from our personal and cultural history and how it gets embedded through the natural and built environment. I create worlds in which altered fragments from my existing landscape are pieced together. These territories then become activated and foster a dialogue between different sequences which produce a nonlinear, poetic narrative.

The interplay between real spaces and invented spaces is intended to give the viewer the ability to align themselves within the familiar, yet forces them to reorient themselves inside the new construct. These places reflect my need to reclaim the private space, which stems from my desire to protect and control how my private self is portrayed in an ever increasingly public world. Therefore, by synthesizing the public and private I intend to open up a pathway into my own internally constructed world. As a result, to maintain my privacy, I am intentionally veiling and concealing that world through abstraction and computer manipulated imagery. For me the result is the creation of my sanctuary.

SCOTT TURRI: Hailing from suburban Philadelphia, where he spent his formative years, Turri now calls Pittsburgh home and has become enmeshed in the regional art community. He has had a range of artistic experiences: from punk rock to a performance art band, writing for New Art Examiner, BOMB and Afterimage magazines, work in video, to currently concentrating primarily on painting and animation. His work has been shown nationally and internationally and has received numerous awards, including a Pennsylvania Council on the Arts Fellowship Award in Painting. Turri’s work has been featured in many solo exhibitions including: the Pittsburgh Center for the Arts, Pittsburgh, PA, Estel Gallery, Nashville, TN, Xavier University, Cincinnati, OH, and Fe Gallery, Pittsburgh, PA, with favorable press including a review of his work in Art in America. Along with his painting practice Turri also is an educator and begins a full-time lecturer position at the University of Pittsburgh, Fall 2017. For the last seventeen years, he has relied extensively on a computer based method of working using computer software to create still images. These images are used as models for exact larger scaled painted replicas having worked through six major series; he is presently working on the seventh, The Longing Ritual.

http://scottturri.com

Day 8 > Alice Winslow

Grandma’s Boobs, 3:27 TRT

Grandma’s Boobs is the second installation of Head Shot, a weekly series of 3-minute explorations by writer/actor/head case, Alice Winslow. Alice pledges to post a video every Friday for one year, whether she wants to or not, for the consumption of friends, family, strangers and robots. More practice than product, each Head Shot is an opportunity for Alice to make peace with imperfection: in her work, in her world and in herself.

ALICE WINSLOW recently graduated with an MA in Acting from the Guildhall School of Music and Drama in London, where favorite roles included Olivia in Twelfth Night, Medea in Medea and Yelena in Uncle Vanya. Before Guildhall, Alice studied playwriting under Paula Vogel at Brown University. She is a founding member of experimental theater group Piehole, and developed and performed in several original shows in New York, including i ❤ Revolution, which premiered at FringeNYC and was then published through indietheaternow.com. Alice plays the lead in upcoming film Glaciers, and her own short film, #BlueBoar, based on a solo show she wrote and performed in London, is currently in post-production.

Day 9 > Ian Gibbins

accidentals (recalculated), 4:05 TRT

… the probability that accidents do happen, if you slip and fall, fly too close to the sun, if your car runs off the road, if you cut your finger, miss a secret assignation, catch (or not) a slip of the tongue, when words fail, when all you have left is abstraction, operators, a lasting approximation, a mathematician’s code …

Ian Gibbins recently retired after 35 years as an internationally-recognised neuroscientist. For 20 of those years, he was Professor of Anatomy at Flinders University. He is also a widely-published poet writing in diverse styles, often accompanied by his electronic music and videos. He has three books of poetry: “Urban Biology” (2012); “The Microscope Project: How Things Work” (with artists Catherine Truman and Deb Jones, 2014) and “Floribunda” (with artist Judy Morris, 2015).

https://vimeo.com/iangibbins

Day 10 > Olga Guse


babylon what then?, 4:00 TRT

…From the beginning of civilization, Babylon – symbol of humanity’s ability and symbol for human pride at the same time – the conflict with God. Millennia have passed, and Babylon spread influence throughout the Earth – great cities, globalization, consumerism and environmental degradation, wars … What awaits the Earth’s next? Will Babylon last?

Olga Guse was born Olga Guseva in 1981 in the city of Saratov, Russia. She is a Russian-German artist, puppet master, musician and animator. Olga Guse creates experimental animated films; the main themes of them are the environment and human rights.

Since 2003 lives and works in Germany, Dresden. She studied at the State Regional Art School in Saratov, Russia (1996 – 2000) and at the University of Saratov, Russia. Field of study: Art History (2001 – 2003). Since 2017, she is studying at IAA International Association of Art, holder of IAA international Identity Card for professional artists.

Creator of many animated films, Guse participated in numerous international art and film-festivals. In two years, the films have been shown at more than 150 festivals and exhibitions worldwide. Awards include; 8th The Digital Graffiti at Alys Beach Festival (2015; Alys Beach, USA): Honorable mentions Award, 7th INCUBARTE International Art Festival (2015; Valencia, Spain): awarded from Centre d’ Art Contemporani Addaya, Nominated: Special Award for the Best Short Film: Recommended for Schools – 10th A Film for Peace festival (2015; Medea, Italy) and “NUIT ROSE” festival of queer-focused art and performance (2016; Toronto, Canada): Best Feature Art Project.

olga-guse.wix.com/guse

Day 11 > Jen Morris & Emily Anderson


watch video

Our work calls attention to processes of cultural translation and transmission through time and space. We want to test the strength of the fibers of cultural memory that tug our heartstrings with the distinctly different gravitational pulls of shared, personal nostalgia (lime Skittles) or cultural history (the proliferous Greek goddess Artemis). Using “brand-name” objects and narratives, we work to renew our Western cultural traditions by using them to illuminate ethico-political problems in the present moment.

With the integration of video, performance, sound, sculpture, and writing we– Emily Anderson, a writer, and Jen Morris, a photography and video based artist– combine our individual practices to create work that draws from a variety of traditions and disciplines. Our focus on translation, and our range from the very concrete to the highly abstract, allows us to explore expanding and contracting definitions of home, and the politics of deciding what does—and doesn’t—feel like home.

Ancient performers of Homeric poetry were called rhapsodes; the word derives from the Greek “to sew together a song.” We sew together a variety of media and Western histories to reconsider food-products as culture and to examine their relationship to notions of home, place, and global flows of food resources, people, and pollution. As we follow the warp and weft of cultural and literary history, we stop to notice the places where the threads fray and snap, focusing on the ways that food has become severed from its origin via corporatized production and alteration.

EMILY ANDERSON‘s writing has appeared in a variety of publications including Harper’s, The Atlantic, Conjunctions, the Kenyon Review, Fence, the Broadview Anthology of Short Fiction and Best American Experimental Writing 2015. Her book, Little:Novels (Blaze VOX Books 2015), erases each of Laura Ingalls Wilder’s Little House novels.

Emily holds an MFA from the School of the Art Institute of Chicago and an MA from Bucknell University. She recently received her doctorate in English from the University at Buffalo.

JEN MORRIS‘s studio practice explores semiotics through photography and video. She questions personal and public spheres of memory and dominant power structures, as well as how these spaces intersect. Among other locations, her work has been exhibited in Boston, MA; Chicago, IL; Helsinki, Finland; Montréal, Canada; Pittsburgh, PA; and Valencia, Spain.

Morris received her BFA with honors from Carnegie Mellon University in 1998, and her MFA in 2006 from the School of the Art Institute of Chicago as a Merit Scholar, Weinstein Memorial Fellowship recipient, and Graduating Fellowship awardee. She is now an Associate Professor of Art at Landmark College in Putney, Vermont, and an Artist Teacher with the Vermont College of Fine Arts in Montpelier, Vermont.

www.anderson-morris.net

Day 12 > Megan-Leigh Heilig


Where there is Love, there is No Work – TRT 5:30

watch video

This work came from a combination of discovering my great grandmothers wedding dress and a conversation with my grandfather about the nature of love. A battle of wills and emotions which is explored through the medium of film. My grandfathers mothers wedding dress has been following me around for the past few years, I can’t seem to get away from it or squeeze myself into it. It haunts me like a white devil, threatening me with a future that I never agreed to. I hate the way it whispers about me right in front me, trying to provoke a reaction. The less I respond the more incessant it seems to get. So I take a deep drink, grabbed it by the collar and shook it, because it taunts me with its condescending tone and patronizing glances one too many times. It pretends to be what its not you see, a beautiful creature but with an empty bodice. I won’t say I drowned it a river. I would rather say that I let it cool down in the water and the rock was just there to make sure it didn’t float away.

This work explores the relationship between performativity and performance – these are two formally distinct things – where the former is an act of constructing an identity through an action or text, the latter is engaged in the history of creating constructions for an audience’s enjoyment or entertainment. Then my argument is that the former is an internal battle of wills, and the latter is an external one – although both overlap and these categories are neither fixed nor singular. The performativity of subjectivity involves the intersections of an event, a language (verbal or physical) and an ‘actor’ (or performer), which constructs or questions the particular constitution of the object at that moment. Therefore the specific spatial temporal elements become the work itself, even if attempting to reproduce something else – which perhaps, cannot be reconciled. This something else is a situation or intervention which creates a particular way of looking at something that is directly influenced by where it is viewed, and what happens within that event. It is the environment which becomes the stage – at once dramatizing the event and mythologizing it – a kind of spatial cut-up which frames the performance. The differences and overlaps between performance and performativity is in a sense a conversation about the relationships between theory and practice.

MEGAN-LEIGH HEILIG: Born in 1993 in Nelspruit South Africa, Megan-Leigh Heilig grew up in Johannesburg, graduated from the University of the Witwatersrand with a Bachelor in Fine Art (BFA) in 2015 and is currently studying towards a Masters in Fine Art (MFA) at the University of Cape Town.

She works primarily in video, film, installation and sculpture. Megan has recently exhibited in the Seven Hills 2nd Kampala Biennale: Virtual Mobilities, curated by Elise Atangana, with a focus on selected video. She was also recently nominated for best experimental short by the Top Indie Film Awards 2016; and showed at the Joburg Fringe in an interactive collection of videos curated by Dean Hutton titled OpenlinkXchange. She has also intervened in project and public spaces through various other online, site specific and collaborative engagements.

www.meganleighheilig.org

Day 13 > Andrew Chaplin

1500 Words, 8:48 TRT

When Stanley Franks is told he has 1500 words left to live, he faces a battle to keep both his marriage and himself alive using the fewest words possible.

Andrew Chaplin or Chappers to most people, is an award winning comedy director for TV, film and commercials. Since 2009 he’s directed many of the UK’s best on-screen comedic talent. Notably his work with Leigh Francis and Kerry Howard has been seen by millions.

In 2015 his co-wrote and directed KEITH LEMON’S BACK T’FUTURE TRIBUTE which helped ITV2 to their highest ratings since the channel launched in 1998. He regularly writes for and directs Leigh on THROUGH THE KEYHOLE and their commercial work for CARPHONE WAREHOUSE ran for 2 years. His work with Kery includes her critically acclaimed sketch show pilot KERRY, as well her BBC sitcom WITLESS, which is now into it’s third series. Commercially, Andrew has directed adverts for many UK brands, including SNIFFERS which, amongst others, won Bronze at the Cannes Lions in 2015.

His most recent short film 1500 WORDS, took home numerous awards on the film festival circuit and he’s currently planning the next, with the film’s writer James Menzies.

www.andrewchaplin.co.uk

Day 14 > Wonjin Son

Geometry, 1:24 TRT
Poem by Chloe Chung

only in this moving stillness i begin
to wonder why i feel alive and well
only when leaving from one point
to go to the other as if it is
necessary to understand the notion
of moving across the plane
as if i am flying in a plane
or stretching out my hands
to touch someone across from me

and all this while i come to realize
this vast emptiness above my head
or empty vastness beside my sides
all these possible heights and depths

and i re-learn my geometry

so only in this moving stillness i begin
to think, as john ashbery once wrote,
of going no further

주혜영 옮김

이렇듯 동적인 정적에서야 나는
비로소 온전히 살아있음, 그 이유를 사색한다
한 곳에서 다른 어딘가로 여정을 떠날 때
마치 수평선을 따라 차원을 가로지르는
비행기의 동력을 이해해야만 한다는 듯
마치 건너편 저 누군가에게 닿으려
있는 힘껏 허공으로 내 두 팔을 뻗어내 듯

그리고 그제서야 나는 깨닫는다
내 머리 위에 뜬 광활한 공허함
내 허리를 감싸는 공허한 광활함
얼마나 높았나, 또 얼마나 깊었나

이렇게 나는
새삼 나의 공간을 배운다

하여 이렇듯 동적인 정적에서야 나는
비로소 그 누군가의 말, 그 의미를 사색한다
애써 나아가지 않으리라

WONJIN SON: I graduated from School of Visual Arts in New York City in 2017, with a bachelor of fine arts degree in graphic design, with motion graphics concentration.

Stepping into the world of visual arts via photography, I started to appreciate the slightest movement of the light over time and how it affected all existing things. Then I realized that anything could become a work of art when viewed through the lenses, and that everything has its own story behind it. I want to become a creator who tells those stories never told.

Keeping my work in both RGB and CMYK worlds to expand my range of style and abilities is something I always try to achieve. Although I love to make things move on screen, I still love the timeless tangibility of printed matter. It is why I continue to practice film photography and drawing.

Having multiple perspectives from diverse cultures has made me flexible in terms of style, which is my greatest strength as a designer to communicate effectively.

www.wonjin.space

Day 15 > Emma Piper-Burket

The full-length version of “How to Build a Terrarium” is 15:15 minutes.

It is Springtime in Prague. A foreigner, new to the city, must navigate the winding bureaucracy of the Czech Postal Service in order to retrieve a package. A state of mind docu-fiction film about one woman’s quest to become the master of her own universe.

EMMA PIPER-BURKET is a visual artist, filmmaker, and writer working in fiction, non-fiction, and collected media. Her work is process-based and research driven, incorporating social trends, ancient history, science, politics, ephemera, and the natural world into her creative practice. She was recently an Ebert Fellow for Film Criticism at the 2017 Sundance Film Festival, a resident artist at Marble House Project in Vermont, and participated in the Oberhausen Seminar in Germany. Her latest documentary, Dream City, is currently available on Fandor; her films have been exhibited internationally and include screenings at Anthology Film Archives, The Armory Center for the Arts and Jihlava International Documentary Film Festival. Her writing frequently appears in Reverse Shot, and RogerEbert.com. She holds an MFA in Cinema and Digital Media from FAMU in Prague, and a BA in Arabic and Classical Studies from Georgetown University.

http://emmapiperburket.com

Day 16 > Ryan McCullough

The Villain Flies, 4:06 TRT

My recent work explores remixing cultural material through storytelling and narrative. These stories are generated at the intersection of writing, image development and objecthood, creating an elaborate ecology. The images and objects I produce are tied to the tradition of collage and bricolage, disparate components coming together to create a third hybrid thing. Characters, locations and events are developed to tell the story of the land of Q, a war-torn place that is desperately trying to put itself back together. Populated with Villains, Heroes, mythical creatures subsumed by their nature; they battle, propagandize and campaign, meet secretly to plot against and double cross each other. The process of interrogating the work and responding to it has forced the narrative to inhabit multiple zones; collage, photography, sculpture, printmaking, video, written poetry, sound and radio broadcast. The subsequent objects and images can be seen as artifacts, ephemera and evidence of events taken place within the fictive complex.

RYAN MCCULLOUGH was born and raised in Tipp City, Ohio. He earned his Bachelors of Fine Arts from Wright State University in Dayton, Ohio where he concentrated in the areas of printmaking and sculpture. Upon completion of his undergraduate work he served as the Director of Sculptural Studies as well as teaching printmaking at Stivers School for the Arts. He received his MFA in Printmaking and Book Arts from the Lamar Dodd School of Art at the University of Georgia and currently is a Visiting Assistant Professor at the University of Tampa. McCullough has exhibited nationally, internationally and is the founder of the Standard Action Press Collaborative Zine Project.

http://ryanmcculloughart.com

Day 17 > Christine Hooper

On Loop – TRT 5:00

Four in the morning, crapped out, yawning.

‘On Loop’ started life when I came across an interesting quote from film critic Bill Nichols which I found whilst writing my dissertation; ‘Every film is a documentary’. He argues that every film, even the most whimsical of fictions, gives evidence of it’s director. From the culture they were brought up in to their personal experiences, it is played out within their work. So I decided to make a film drawing on my personal experiences – to give a feel of authenticity but not be restrained by the documentary format. One thing I had a lot of experience of was insomnia, so I chose that as the theme.

The aesthetic was inspired by David Hockney‘s photomontages. I explored using split visuals within my BA work and wished to develop this technique further. I wanted to give a cubist feel, to have both a layering of time and to create a visual representation of fractured thoughts.

CHRISTINE HOOPER is a writer director hailing from Birmingham, UK. Her Royal College of Art graduation film, ‘On Loop’, has won multiple awards and been screened at over 65 festivals worldwide. Her work has been broadcast on E4, SkyArts & CBBC to name just a few.

www.christinehooper.com