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Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yardchair, upon which sits The Creator, impassively observing the inexorable flow of His mountains.
16mm color short from Pat O'Neill, music video for The United States of America
LAST OF THE PERSIMMONS opens with a black-and-white image of a main inflating helium balloons in the shape of rabbits. Onto this image Mr. O'Neill places two mirror images an old Fleischer-style cartoon elephant comically licking its mouth as if in anticipation of yet another layered image, that of a ripe persimmon. —Manohla Dargis, "In the Studio's Shadow, An Avant-Garde Eye," The New York Times, 11/8/2004
A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover "structural" film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities.
The Ambassador Hotel in Los Angeles serves as the backdrop of Pat O’Neill’s artfully-crafted film. Shot in the classic Hollywood style, the movie follows various mysterious characters as they move through the haunted halls of the hotel, exploring along the way the secrets that are held within.
A look back at the hotel where The Decay of Fiction (2002) was filmed, at the time of its demolition.
"O'Neill found an envelope labeled 'Helen's Coreopsis' with seeds from a 1935 visit his mother had made to her sister in Nebraska. His film COREOPSIS was made by scratching into developed and discarded pieces of film stock revealing pink, yellow and clear layers. This remnant of his memory of her is performed and inscribed in these excised layers." - Erika Suderburg
"FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume." - J. Hoberman, The Village Voice
2016 --- Digital Video --- 28 minutes --- Color --- Sound
Pat O'Neill narrates his photographs made between 1965 & 1975 approx.