Silverfish is an independent film I undertook with Ran Li starring John Wax and Bill Campbell. With Silverfish, I revisited the method of the cryptic narrative in regards to the main character, leaving his backstory intentionally ambiguous, not even revealing his name. By keeping him a blank slate, I invite the viewer to put himself in Silver’s shoes, reflecting on the decisions they would make in the difficult situations Silver encounters throughout the film. On set I worked with lighting, sound, script supervision, and scene setup, and each of these positions offered me excellent insights into my future films.
Terminus Est further explored the minimalistic method of narrative I introduced with United by using incomplete and achronological imagery to conceptualize the void soul. With these images I provide incomplete pieces to a nebulous puzzle to be interpreted by the viewer. While the pieces I provide in the animation are not complete, they are the significant cues from which the viewer can impose their identity into a fully fleshed narrative.
Oblivion was an exploration into the cryptic narrative approach, as well as a return to the Void Soul. For this project I returned to the concept of using non-verbal audio to provoke a narrative. Unlike United, I did not compose a score for this, instead relying entirely on foley sounds I created using materials relating to the scenes. I found that by slowing and warping these familiar sounds, I was able to augment the ominous ambience of the film. I further explored the notion of using recognizable objects to create a foreign audio landscape in several of my entailing projects.
Tranceptance and the Return were sister projects featuring one of my characters, a domesticated dog wandering through a post apocalyptic wasteland. Both pieces incorporate foley sounds into the landscape and conclude with a score. I found music to be a successful conclusive element because it encapsulated the emotions I attempt to evoke with my foley landscape. With Tranceptance I explored the boundaries of foley more extensively. For example, the dog’s whimpering growl at the end comes from the sound of a dying engine amplified by a Styrofoam cup. This method of warping sounds through cylindrical devices was something I pursued further in other projects.
Inflection was an independent study I created using plaster, sand, and wood. My project was on display in the Living Arts lounge from Fall 2011 to Winter 2012.
Inflection is a study in self reﬂection and change. Every aspect of the piece but the
centermost mirror can be manipulated or altered by the casual viewer to represent change within him/herself. Altercations made to the central rock represent permanent change: changes to the mind, which can never revert to its previous form. Altercations made to the sand and rock orientation surrounding the central pool represent impermanent change: changes to the ﬂesh. The contrast between the sand, which is easily changed and easily reverted to its original state, and the stone, which is forever transformed by even the slightest mark, is meant to represent the contrast between shallow and deep transformations within an individual.
This is an interactive piece: for it to fulﬁll its purpose, the viewer must spend time gazing
into the pool, and transform the rock to express the way he/she views the state of her mind, and alter the sand garden to express the way he/she sees her physical appearance. The viewer should not second guess their creation, but simply gaze into their reﬂection within the pool and carve whatever they see. The resulting composition can be seen as physical representation of the viewer’s emotional state. Eventually, different compositions will mix together as more viewers leave their marks, resulting in an involuntary collaboration between different individuals. In this way, the piece will be shaped by the emotions of myriad viewers, and the difference between the permanent and impermanent changes will become more and more pronounced. The outer rock of the reﬂection pool will evolve and change permanently, while the sand garden remains transitory.
The mirror in the center of the pool represents the soul: the intangible, undeﬁnable,
enigmatic center of the individual consciousness. It is the one aspect of the piece which is
unalterable, for the soul is the only aspect of the piece that truly reﬂects you. Over time, the outer body will change. Beliefs will alter, knowledge will evolve, ﬂesh will age. Eventually, the
physical body will be carved away, wasted to nothingness. No matter what transformations shake the ﬂesh, the soul remains the pure embodiment of self. It is the calm center which no outer turmoil will ever reach.