The God of Day Had Gone Down Upon Him 2000

This film of single-strand photography begins with the "fire" of reflective light on water and on the barest inferences of a ship. Throughout, the interwoven play of light and water tell the inferred "tale" of the film through rhythm, the tempo, through visible textures and forms in gradual evolution, through resultant "moods" generated by these modes of making, and, then, by the increasingly distant boat images, birds, animals, fleeting silhouettes of people and their artifacts, flotsam and jetsam of the sea-dead, as well as (near end, and almost as at a funeral) flowers in bloom, swallowed by darkness midst the crumbling of the sand castles.

This film of single-strand photography begins with the "fire" of reflective light on water and on the barest inferences of a ship. Throughout, the interwoven play of light and water tell the inferred "tale" of the film through rhythm, the tempo, through visible textures and forms in gradual evolution, through resultant "moods" generated by these modes of making, and, then, by the increasingly distant boat images, birds, animals, fleeting silhouettes of people and their artifacts, flotsam and jetsam of the sea-dead, as well as (near end, and almost as at a funeral) flowers in bloom, swallowed by darkness midst the crumbling of the sand castles.