Typewritten marks intertwine through a shifting frame of view along the axis of a page. In this simple movement, contours dissolve as one point is dragged into another, forming crooked variations of line and brief glimpses of optical illusion. Slight imperfections become visible within the machinic regularity of the reading- a skew, paper grain, and subtle stains of use. 

The realms of childhood, war, and loss echo through Ricky. Double vision illuminates, and simultaneously obfuscates, what can be remembered, lost, or retrieved. A found sound recording forms the spine of the film... a scratched audio letter from father to son”. (JG) 

“A manuscript illuminated: illustrations retreat into the fiber of the page; a fleeting light dissolves into the emulsion of the film: an elusive story is revisited.” (CP)

The production of sea salt flower is a process of concentration and saturation of sea water in order to form salt crystals. The agricultural character of the activity is evoked by the term ‘salt garden’. Six poetic pictures, five based on the sun, the wind and the sea, while the last lingers on a small park left fallow.

Beatrice Gibson’s latest film Agatha is a psycho- sexual sci-fi about a planet without speech. Its narrator, ambiguous in gender and function, weaves us slowly through a mental and physical landscape, observing and chronicling a space beyond words. Based on a dream had by the radical British composer Cornelius Cardew.

Words shape our impressions and form our history. In Scene Shifts, in Six Movements a journey through historical layers of various locations on several continents unfolds. However, it is primarily an intellectual journey. The locations, images, texts and music hold references to a long history of cross-cultural misinterpretations.