the Not Still Art Festival has a unique character.
From the large number of excellent work submitted, a cohesive program has to be organized.
In 2007 the program fell
into five Movements.
still dark - but now we have entered "Density 1," the urban universe
of structure, vehicles and night light.
Interleaving through wide screen cityscape, we parse frozen
bars of neon light suspended over streets - smog clinging to a
dawn. Video artist Patrick Doan, a.k.a.
Defasten, also samples Tim Hecker's "Balkenize you" along with
ambient sound." Alex Potts'
"Anthem" steps up the light with performance. This
light painting, which occasionally
suggests a human context, builds gradually into a blazing climax -
achieved without histrionic music. The
music is background to the image, which has its own melody. It is lighter now. With
"PIX" we've entered the world of flashing, subliminal
images of Osaka - projected on the sense receptors of overstimulated
artist Justin Lincoln. His
co-conspirator, Ben Owen, simultaneously created relentless rhythms
punctuate the tsunami of images.
"Pixielation" is Kyle Silfer's self-portrait on a
Gameboy. Super lo-res, this piece
proves that motion is compelling when well directed.
We end Movement #2 with a return to our roots: Tanja Vujinovic's
"Extagram-02" visualizes noise on a pointillist canvas with an ear
for random events. She calls it
"info-dust" - which is what future archeologists will make of our
high noon and we are wide awake. Karen
and Ken Field have crafted a spontaneous burst of joy and counterpoint. "Sensorium," in Baroque fashion,
joggles us around to an upbeat tempo - but Field has managed an
chamber ensemble to conjure hiphop and mideastern references. "pipilo" is one of
animator/composer, Brian Evans, many iterations on a 2:15
small works leave a big impression: the
images (are they 3D?) and the music (is it synthesized?) leave you
and a little mystified. Evans' color is
always in a class of its own. If 'white'
wasn't in the title, "White Noise" might have been in Movement #1 -
but this epic abstraction is bursting with ideas and intense energy. Dennis Miller, who is electronic music
composer and animator, has entered a Faustian dilemma.
Will this alternate universe of quantum
explosions and implosions supplant the taudry reality of daily life?
Movement #4This is electronic motion imaging - but hand drawn images may still apply. Phillip Guthrie makes a great visual haiku out of "The Brown Paper Bag". Kyunghwa Lee scribbles all over the subconscious of a "Crazy Woman" who is neither coming or going. Kim Collmer draws on the "Berlin Skin" to Petra Klusmeyer's music which is insistant and repetitive - as windows peel away and wrought iron gates grow leaves.
"Awen" means spirit and Matt Costanza's collaborative venture reminds us of classical Greece and the intensity of music from Eastern Europe. Michaela Eremiasova opens with a choral composition which might be religious - we have the harmonies of the Bulgarian Women's Choir - while Costanza makes a moving stained glass frieze of fractured dancers. Then a violinist appears in the second half of the piece and the music becomes instrumental. There is a deliberateness which is emphasized by the reappearance to the neo-classical dancer. Emile Tobenfeld a.k.a. Dr. T takes the opposite approach. "A Different Kind of Blues" is an excerpt of a live performance where the prolific photographer, video performer and software programmer, lets us have it all. He too is working with a live performance violinist. The randomness of the referential images complements the improvised music. The final piece goes to Stephanie Maxwell, and once again, Michaela Eremiasova. Maxwell has been affected by the pure paganism of Eremiasova's music - or is it the other way around? There is a lushness to the images, which though moving characteristically fast, hover long enough on leaves, grass, the moon - for us to just catch our breath and sigh. Eremiasova is slippery here. The mystery of nature is alluded to - trembled at.