Madison Brookshire

A simple score: when the loop is one frame long, it plays only once; when it is two frames long, it plays twice; three frames, three times; and so on. Space compresses but time stretches under this operation and instead of going nowhere, the repetition suggests infinity. As Dziga Vertov once said, there is time inside of time. Merle Haggard was in the audience when Johnny Cash and Carl Perkins played this song, Folsom Prison Blues, at San Quentin. Carl Perkins' locomotive guitar solo gets caught up in the gears of this video and stretches like a penny on a rail under the weight of a passing train.

A pandemonium of parrots at sundown.

The Number Series uses double projection to create an uncanny experience of color as both presence and absence, a negation that is generative. In No. 10, symmetrical films emerge from and return to gray in an offset pattern. -MB

Hand-painted frames that oscillate between red and blue. Alongside the frames emptied of figuration, the relentless tones of Revenant form a wall of sound, an intense viewing and listening experience.

A hand-made, paint soaked film, allowing evaporation, dust, crystallization, mold, and more to inform the image. Film strips— stained over days, weeks, and months with acrylic paint, ink, urine, termite droppings, etc.—are soaked in paint and saturated with time, resulting in a turbulent palimpsest with many layers and textures visible at once, each one moving with its own rhythm. There is an affective quality to the excesses of the imagery that is both repetitive and ecstatic, yet the overall experience is quiet and reflective.

Color Series was made by providing the film laboratory with six written scores that directed the film timer to change the printing lights from "Red" to "Green" to "Blue." The result is a series of slow fades from one colour to the next, which, not unlike the experience of a sunrise, immerses the viewer in the perceptual phenomenon of gradual change. As Brookshire writes, "The subject of the work is duration, and color is the medium through which we experience it. The converse is also true: the subject is color and duration is the medium. The effect is a direct experience of time and vision."

A simple score: when the loop is one frame long, it plays only once; when it is two frames long, it plays twice; three frames, three times; and so on. Space compresses but time stretches under this operation and instead of going nowhere, the repetition suggests infinity. As Dziga Vertov once said, there is time inside of time. Merle Haggard was in the audience when Johnny Cash and Carl Perkins played this song, Folsom Prison Blues, at San Quentin. Carl Perkins' locomotive guitar solo gets caught up in the gears of this video and stretches like a penny on a rail under the weight of a passing train.

A pandemonium of parrots at sundown.

The Number Series uses double projection to create an uncanny experience of color as both presence and absence, a negation that is generative. In No. 10, symmetrical films emerge from and return to gray in an offset pattern. -MB

Hand-painted frames that oscillate between red and blue. Alongside the frames emptied of figuration, the relentless tones of Revenant form a wall of sound, an intense viewing and listening experience.

A hand-made, paint soaked film, allowing evaporation, dust, crystallization, mold, and more to inform the image. Film strips— stained over days, weeks, and months with acrylic paint, ink, urine, termite droppings, etc.—are soaked in paint and saturated with time, resulting in a turbulent palimpsest with many layers and textures visible at once, each one moving with its own rhythm. There is an affective quality to the excesses of the imagery that is both repetitive and ecstatic, yet the overall experience is quiet and reflective.

Color Series was made by providing the film laboratory with six written scores that directed the film timer to change the printing lights from "Red" to "Green" to "Blue." The result is a series of slow fades from one colour to the next, which, not unlike the experience of a sunrise, immerses the viewer in the perceptual phenomenon of gradual change. As Brookshire writes, "The subject of the work is duration, and color is the medium through which we experience it. The converse is also true: the subject is color and duration is the medium. The effect is a direct experience of time and vision."

Paintings collide to produce panels of time distended with space, set to music by Tashi Wada. While the score is spare, the image is excessive, the meter working with and against the imagery. The picture is made from paint-soaked 16mm film strips, reinterpreted with a digital camera, edited to cycle in short, hallucinatory loops, forming abstract thaumatropes.

A 16mm film that is a musical score: two small spots of sunlight slowly move over five hand-drawn lines, creating a subtly shifting piece of music for live musicians to perform. -MB

Two is mostly dark; the film is unexposed except for two flares that articulate the darkness. The color extends to the soundtrack area of the film, producing a soft noise that changes slightly at the moments the film flares.

A 16mm film made entirely at the lab using the timing lights of the printing process. The image is simply a flat field of color, a deep purplish gray, unchanging except for minor variations of film grain, chemistry, and dust (as such, it does not readily translate to video and does not have an online preview). The color extends to the area that the projector interprets as sound, creating a soft, pink noise.

Two rolls. Two flares.