Projects matching: Stuart Pound

Synopsis

The painter, now a filmmaker, talks through the making of a painting, and the making of a video from it years later. The oil on board surface is no longer still but animated with motion paths and filters.

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Music from central Africa is used to modify the size of black and white squares which cover the whole screen and change 25 times each second.

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What better to do while waiting for a bus than ponder on the clouds in the blue sky above and their place in our lives? The soundtrack is a composition made from a single recording of the poet's voice, and is best heard through headphones.

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The opening shots of the Danish film "The Abyss", made in 1910, show scars from repeated screenings. The dance section was censored and so remains undamaged. In " Drift through mirrors", the story of the two characters in the scratched clip and the less worn one, is told as they step through a sequence of mirrors created with software filters.

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The Alice of fifties animation visits the Wild West of fifties live action, but only through persistence of vision, they never meet in the same frame. The original Alice and the original Wild West were contemporaries too.

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Clips from two Italian films of the early 1960's meet on a train platform in Rome. Together they move towards, but don’t quite arrive at, another story, as the processing makes animation of what began as live action. To the sound of Wagner and Rossini.

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Nobody drowned. A poem about the 1910 Paris flood, with photographs of Paris and Parisians taken at the time.

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Not being, as a sense of not being out there or even alive. The faces of iconic stars of the past mask or partly mask the film-maker's own face.

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A fast motion path circles into dance.

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A clip from the iconic 1999 science fiction film "The Matrix" becomes a much older silent movie with piano accompaniment, seen again in its own far future or where time no longer counts. The two lovers shift roles and even genders in the obscure cinematic space that contains them.

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I wouldn't have made this if I had not heard counter-tenor Hugues Cuénod at Covent Garden Opera House as a child. The film animates images taken mainly from old photographic plates, to pick up the beat and ripple of the soundtrack, overlaid by the voice of Jimmy Somerville with its astonishing range of pitch and timbre.

Synopsis

Boston Manor Park, under the M4 motorway in early lockdown. The filmmaker adds his graffiti to what's already on the concrete pillars.