October 5, 2011 § Leave a comment
Persisting and concentrating, I make non-fiction films shaped from images, sounds and voices caught from the waters of life. In order to create energy for this long and arduous process, my devotion to a subject needs to match my devotion to images and sounds moving on a screen, so the two can merge and create a stronger alternative reality.
It used to be that a track record of success might help you attract funding institutions to back a new film. You would be in a dialogue with your funders, your producers, and your technical and editorial team. When the film was completed, you would show it to close friends and supporters, distributors, and begin offering it to venues and festivals. It might be bought for broadcast, either public or cable.It would be sent in for awards consideration. If more money came through, you would design an outreach effort to get the word out about the film and its subject. Your website would be promotional and you would meet your audiences at screenings.
If you have the capacity and the resources, this model could still work.
But now, I wanted a new experience, with different results.
Lunch Love Community is evolving into an outcome rather than a completed object.It is a network of intentional relationships and dialogues among people who are passionate about the subject.
It is an experimental laboratory within fluid platforms and formats. And it is a visual conversation about what constitutes authorship of the project.
It is also touching an expanding web of collaborators and supporters who see it, and its spirit, as a way to activate and participate in an expressive field larger than any of us individually.
I am learning to see the work I do in media as liquid, a permeable substance that moves across and through networks or clusters of activity. The film will no longer be an object that is solid, and completed. It will come together momentarily in one space, only to be dispersed and re-formed in another.Yet, the context I give it, as the artist, infuses it with my human intention, and keeps it from dispersing only as disappearing fragments across the media stream.
This image reminds me of a moment one summer, standing on a bridge looking over the small but rushing Onion River in northern Minnesota.
Sparkling and hypnotic, the stream moved over and around rocks, being pulled down towards the wise expansive lake. The waters at the river’s edges would wind back to the larger stream, regardless of apparent force or laziness, adding to the growing momentum.
And that mainstream changed its position, depending on my vantage point and where I was in relationship to the water flowing.
We inhabit many image and media cultures moving together, but at different strengths, and always changing, assuming different shapes, just like the summertime water in the feisty Onion River.