Kristie Alshaibi

In a pseudo sci-fi trip of pornographic proportions. In Other People's Mirrors, the camera feels like an extension of the unstable characters it is following, taking on a near-home-movie style documentation of street performance and improvised art. It centers around the journey of Echo Transgression, a schizophrenic sex addict, who believes that if she follows the instructions being transmitted directly into her spine, then she will escape to her own version of nirvana. Underground legend Nick Zedd plays the alien phantom of Narcissus, a secret agent who makes sure she stays on course.

Formally, an intriguing depiction of video as forward motion, or as technology of road movies and dreams. Alshaibi intercuts footage of a Southeastern Asian trip with a young man’s venereal disease-influenced fantasies of a strange young woman.

A young Muslim Dominatrix in the midst of a spiritual crisis.

Study of a schizophrenic girl in her own language.

A woman is chased across a field by an unseen assailant.

Close-up of a woman crying.

In a pseudo sci-fi trip of pornographic proportions. In Other People's Mirrors, the camera feels like an extension of the unstable characters it is following, taking on a near-home-movie style documentation of street performance and improvised art. It centers around the journey of Echo Transgression, a schizophrenic sex addict, who believes that if she follows the instructions being transmitted directly into her spine, then she will escape to her own version of nirvana. Underground legend Nick Zedd plays the alien phantom of Narcissus, a secret agent who makes sure she stays on course.

In a pseudo sci-fi trip of pornographic proportions. In Other People's Mirrors, the camera feels like an extension of the unstable characters it is following, taking on a near-home-movie style documentation of street performance and improvised art. It centers around the journey of Echo Transgression, a schizophrenic sex addict, who believes that if she follows the instructions being transmitted directly into her spine, then she will escape to her own version of nirvana. Underground legend Nick Zedd plays the alien phantom of Narcissus, a secret agent who makes sure she stays on course.

In a pseudo sci-fi trip of pornographic proportions. In Other People's Mirrors, the camera feels like an extension of the unstable characters it is following, taking on a near-home-movie style documentation of street performance and improvised art. It centers around the journey of Echo Transgression, a schizophrenic sex addict, who believes that if she follows the instructions being transmitted directly into her spine, then she will escape to her own version of nirvana. Underground legend Nick Zedd plays the alien phantom of Narcissus, a secret agent who makes sure she stays on course.

Formally, an intriguing depiction of video as forward motion, or as technology of road movies and dreams. Alshaibi intercuts footage of a Southeastern Asian trip with a young man’s venereal disease-influenced fantasies of a strange young woman.

A young Muslim Dominatrix in the midst of a spiritual crisis.

A woman is chased across a field by an unseen assailant.

Close-up of a woman crying.

Chicago, 2008.

"Signal Cross Over is about assisted love suicide and the noisy transition into the afterlife. He is dead and, with his guidance, she will join him via a ritualized live cremation process. Shot on an old studio tube camera from 1983, all effects were done live with alcohol, glass, fire, and lights. The sounds were also created using old technology: a burning ear cone/candle, a police scanner, and a Theremin. The music of the afterlife consists of old-time Gospel, Hindu devotionals, an Islamic call to prayer, and pre-Christian Celtic folk singing. The songs were shredded, performed, and then remixed to signify all of the souls passing on." - Kristie Alshaibi