Andrew Boardman, Skye Callow, Connie Chappel, Mark Dela Cruz, Madelyn Gowler, Bronwyn Lutz-Greenhow, Carmen Hathaway, Ashkan Nejadebrahimi, Niki Saghari and Tracy Peters SHORTS! Member’s Screening

SHORTS! PLATFORM centre’s members’ screening is here! Work by Andrew Boardman, Skye Callow, Connie Chappel, Mark Dela Cruz, Madelyn Gowler, Bronwyn Lutz-Greenhow, Carmen Hathaway, Ashkan Nejadebrahimi, Niki Saghari and Tracy Peters. 

ONLINE SCREENING: 16 February – 9 March 2022

Pieces Of MemoryBronwyn Lutz-Greenhow 

Often discarded, shoved into the deep depths of pockets and handbags, receipts are physical time stamps, marking moments of time, those moments or memories sometimes only remembered and recalled in the brief time of overlooking the receipt before it gets thrown away forever. Pieces of Memory is a projected stop motion video that explores the connection between memory and the purchasing and consumption of goods and how receipts act as a tangible piece of memory.

Solitary BodiesTracy Peters

Solitary Bodies combines the effects of cinematic and ecological processes above and below a river’s surface to investigate the metabolism, erosion and evolution of fragile and threatened ecosystems.

Quintessence Ashkan Nejadebrahimi

In this project I tried to look in to the space between objects; Referring to the Quantum physique theory that indicates invisible particles and the fact that everything that is observable in the whole universe, is embraced by invisible elements.

 Film about Film: first cutMadelyn Gowler

Film about Film: first cut is a stop motion of a collage of found and shot film, prints, and stamps from a film spool.  The base of the collage is shots of a glitch on a screen, deconstructing the film not only through physical mutilation but by making it into a hybrid of digital and analog photography.  The translation back to digital file was done by taking photos of the film on a smartphone, then screen recording flipping through the photos, to create this choppy video.

Caretaker(s) Skye Callow

Caretaker(s) is an exploration of the histories that are embedded within our landscapes and an investigation into why we document the spaces that we do. The work considers photography and video documentation as an act of care for space, a means of connection through time, and an opportunity for empathy. Caretaker(s) began after I inherited a collection of photographs from my recently passed grandmother. After seeing the photographs that she had made throughout her life, It was like I had been allowed to see the fragments of the objects, the people, and the places that she cared about through these images that she took. She was never someone that I was close with, so when I experienced these artifacts from her life it sparked within me a connection that feels just as real as the one we had when she was living. In Caretaker(s), I take her images and I bring them back to the physical sites that they were taken. The resulting video is an homage to her and her memory. Initially created for the 2021 1TS8 event as a part of the WNDX festival of moving image.

Hiraeth Niki Saghari 

“Hiraeth” is a Welsh word and it is a mixture of longing, yearning, nostalgia, wistfulness, or an earnest desire for the Wales of the past. It is a homesickness for a home to which you can not return, the nostalgia, the yearning, the grief for the lost places of your past.

“I am from there. I am from here.

I am not there and I am not here.

I have two names, which meet and part,

and I have two languages.

I forget which of them I dream in”

– Mahmoud Darwish

I Might be a MechanicConnie Chappel 

A casual tour of Cathy VonRohr’s home/studio/gallery in Puerto Vallarta.

futures passedMark Dela Cruz

The World’s Fair Andrew Boardman 

A meditation on the phantasmagoria and glorious spectacle that was the 1939 New York World’s Fair. Opening on April 30, 1939, on nearly 1,200 acres of land in Queens, the fair foretold “The World of Tomorrow”, in which countries, companies, and civic organizations depicted their future of peace, global cooperation and technological fruition. At a cost of $160 million, over 44 million people would visit the fair, taking with them memories of the marvels they beheld. The fair would also foretell much of how the Second World War unfolded, from the roll out of mass transportation of humans to the introduction of computation and the mechanics of murder. This work of montage boils down the optimism, joyfulness and sense of cooperation that transpired during the heady days of that World’s Fair.

AsylumCarmen Hathaway

In keeping with the premise of ‘shelter in place’ — an asylum, in the time of Covid.