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SPIDERY
One of Boston's most cherished
curators of film, Jon Gianvito, once told me, "If
you move to New York, get thee to the films of Bradley
Eros." When I finally made that move in 1989,
I was overjoyed to stumble into Bradley and his collaborator,
Jeanne Liotta, screening their work in an exquisitely
decrepit hole of a storefront. As I have a weakness for art that
explores biological themes, I had no choice but to make
the pilgrimmage: Bradley and Jeanne were launching a body
of work which was so fixated on biological reality, they
had literally subjected their film to the decaying processes
of molds.
Over the years Bradley has managed to ferment his obsession
with the biological, multiplying it like a divine weed
in a series of forums, salons, installations and festivals.
His ameoba-like career, now involving an array of devices,
lifeforms and light sources, has slithered into thousands
of minds and bodies.
On display here are some of the more eerie and unstable
offspring to crystallize within Bradley's seductive, watery
systems. These Hyper-Runts, along with
his manifesto, Ephemeral
Cinema, underscore the flickering fragility of our
nervous animal beings.
--Ebon Fisher |
Presented are 2 stills: (red) + (blue),
near-holographic, 'insect in amber' crystallizations of the
deliquescent luminescence, & (spideryWeb), a GIF animation.
This sequence of fragments, from the full 8 minute sound version
of the digital film to be shown in the gallery, is offered
as a permutational invitation, to be downloaded and mutated
at will by participating viewer/players.
'spidery' is a digital offspring of the manual & the
mechanical, an alter/native permutation devolved from
the ephemeral cinema. The source elements were spun
from a 'theory of delicacy' as a performative film,
in the unfixed essence of the medium, both in terms
of the fragility of the plastic and chemical materials,
and the fleeting nature of the moving image. It uses
a watery template to create an aquatic ambiance
that emphasizes the liquidity of projected light.
'spidery' mixes original shot material with colored
filters, shown through a prism of water and cut crystal,
to elongate and splinter the angular animal grace of
the arachnid limbs and elegant web, giving the appearance
of a spider trapped in a microscopic pool or suspended
within the actual projector lens, or now, within the
liquid crystal or electronic void of the computer screen
or the virtual webspace of the internet.
-Bradley Eros |
Bio
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Artist, experimental filmmaker, mediamystic,
poet,
curator, collagist, soundtrack creator, private investigator.
Work screened for the 2004 Whitney Biennial, the 2002 New York Film Festival,
Pacific Film Archives, Anthology Film Archives, MoMA & internationally.
A catalyst actively involved in myriad aspects of the diverse New York
experimental film demi-mode for 20 plus years, initiating, exhibiting and
curating at a multitude of spaces & venues, collectives & festivals,
including various galleries, storefronts, clubs and micro-cinemas: The
Kitchen, Exit Art, Millennium, Anthology, Galapagos/Ocularis, NY Underground
Film Festival, and most especially, Robert Beck Memorial Cinema, at Collective
Unconscious. |
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