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A child is given birth in the womb of its dead mother. Child’s eyes perceive the death of a city. The last birth combined with the fire and destruction.
"'Drop' restages Newton's celebrated encounter with the heaviest and most voluptuous fruit of the vegetable kingdom. It tracks the eye's apple from the graceless decline of the primal couple to our own fall into the orbits of applied science. Begun at a crossroads soon abandoned, Drop's anxious recollection services this passage from orchard to orison, reminding us of Toto's immortal quip from 'The Wizard of Oz': the less the firma, the more the terra." (Mike Hoolbom)
A man counting sheep as he sleeps. I have never seen sheep as I sleep. The sheep relax the man, he falls into a deep sleep. You are wide awake, moving through the man, maybe sleeping counting sheep. The alchemy, the dream, the scene. (CB)
"Carl Brown makes celluloid dance. [His] new film work will burn colours so deeply into your brain, you'll be watching a light show inside your eyelids for hours. Titled Neige Noir ('Black Snow'), a name that conjures up Toronto winters but actually refers to the trenches of the First World War, the piece is a visual feast. It opens with a calming sequence of manipulated representations of a swimmer and the sea set to a lulling jazz tune, and then crashes into a steady techno and white noise assault with pulsating images. Brown radically alters the celluloid itself, experimenting like a mad scientist to create gorgeous colour patterns. He sometimes refilms an image up to eight times to bring its dance of distortion to a climax. Any single still from this film could bring you to a stop in an art gallery, and Brown gives us some 86,000 of them." (Thomas Hirschmann)
Monet is an artist that I have always greatly admired. His use of colour through water and sky to convey his emotional state has had a great influence on me. Whether it was the first rays of light glinting the water's edge or the magic time just before nightfall, Monet's sense of colour and colour conveyance has always been perfect. I have used my techniques of alchemical film to translate onto film my impressions of Monet's sense of colour, water, sky and his most powerful icon the water lily. Using my toning, liquid emulsion, reticulation, dried crystal bleach formations and stacking techniques to just name a few I have translated the Monet experience onto the surface of my film.
As the wheel turns, the religion of the body moves to and through the physical into the psychological. We see the feared, all is moved. There is a hint of seclusion, an idea from the past re-worked and still dangerous. The participants unsure choose a convent and are still revealed. Through a window there appears a tree, and then a forest. Too many options. The monastic life, safe and sure. We cluster for the cloister.
Re: Entry is a film in which fear and anxiety are transplanted with techniques of relaxation. This cross-connection gives birth to a field of unexplored emotion. Through the colour and the movement, we move on this wave of feeling released, by nature, the nature of time, of terrain familiar and not so, and as the film progresses our conception of unrealized or felt vision becomes less solid, more fluid. A retention of water. (Carl Brown)
"This two-screen dual projector film extends Brown's use of chemically tortured celluloid to the breaking point. A collaboration with his long-time sound colleague John Kamevaar, 'Fine Pain' is an extended dialogue between image and sound - like a prolonged riff of free jazz between two masters. The discordant tensions of this film will keep you on the very edge of your seat, astonish you with the mesmerizing range of colour and abstraction and the over-modulated sound vibrations." (Pleasure Dome program notes, Toronto, March 2000)
A dual-projection film where each director made 30 minutes of film without knowledge of what the other was making. Snow's side is a visual encyclopedia of natural and man-made objects. Brown's side transforms footage of a San Francisco cable car.
"'Brownsnow' presents a fascinating combination of two artistic visions: Carl Brown's and Michael Snow's. The form of this expressionistic documentary on Michael Snow's artwork is a complete melding of Carl Brown's rich manipulation of the photographic image with the fundamental concepts of Michael Snow's aesthetic vision. Brown's strengths as a portrait photographer are also well-translated to the filmic medium as he situates key commentators on Snow's artwork (Dennis Reid, R. Bruce Elder, Jonas Mekas, Peggy Gale and Regina Cornwell) in various dramatic Canadian landscapes. Like an abstract expressionist painting in motion, Brown's brilliant work as a colourist deftly employs photographic chemistry to create textures and rhythms that vary across each scene and, in actuality, from frame to frame." (Susan Oxtoby)