Leighton Pierce
1954 (70 лет)White Ash
Leighton Pierce
Pierce meticulously weaves the warp and weft of image and sound leading the viewer into a conscious meditative state. Shooting and then animating thousands of moving camera, hand-held, long exposure, digital still photographs into articulations of real spaces and events, Pierce re-articulates and recontextualizes the video by applying the lever of a judiciously and intentionally composed musique-concrète soundtrack.
White Ash
Stone Moss
Leighton Pierce
Stone Moss is composed entirely from digital still images and is a segment of a much larger and multifaceted work titled Agency of Time, a 3 tier, long-term project consisting of a symphonic mutli channel video/sound installation, a series of single channel works and a photography book. Stone Moss is the first of the series of single channel works. The content of Stone Moss as well as of the photographs and installation focus on an awareness of perception, point of view, time, desire, and memory to encourage an active yet open emotional engagement with the piece.
Stone Moss
Principles of Harmonic Motion
Leighton Pierce
"While not addressing the issue in a very overt manner, this piece has something to do with the thrilling and 'awful' process of actively engaging in perception and how we oscillate between forgetting and remembering that activeness as we age. In 'Principles of Harmonic Motion', I take a painterly approach to the image and rely on a subtle but carefully composed stereo soundtrack to amplify the sense of physical and psychological space. The images, sounds and structure are sometimes somewhat abstract while preserving a strong grounding in representation." –Leighton Pierce
Principles of Harmonic Motion
Retrograde Premonition
Leighton Pierce
This is one short piece in a collection of 15 that will explore representations of consciousness. Retrograde Premonition looks and sounds like floating mind, the vicissitudes of thought, feeling, and the senses. Not limited by the portrayal of actual events, this video works to encourage a roaming consciousness through images and sounds that may or may not be present. Pierce shoots these videos with a digital still camera hand held at long exposures and then weaves the stills into video shots. Each individual image bears the mark of time from motion blur, a blur that may in fact contradict the apparent motion of the frame. He composes the entire sound scape once picture editing is complete.
Retrograde Premonition
My Person in the Water
Leighton Pierce
A woman moving in the water and the gaze of a man, both seen from beneath the water, elaborated by the vectorizing force of sound, lead the viewer toward an effervescence of feeling - a desire for merge among the knowledge of separateness.
My Person in the Water
Number One
Leighton Pierce
Number One engages the experience of elasticity between varying states of mind. The contrasts in this multi-image piece -- shifts between frenetic chaos and calm order, between an intense central focus and a diffuse periphery, between hard and soft, fixed and fluid, concrete and abstract -- are all developed not in opposition to each other but rather, in an interwoven, multilayered relation to each other. There is never one set of oppositions but rather a dance of relationships between contrasting states. This is one way to think about how a mind works: at any moment, there is never just one thing (or feeling, or perception) in life; there is always a magnetized and elastic push/pull among many things at once. The flow of our attention among these things is our mind. Number One is one way to map a few moments in such a mind. Number One is a single channel evolution of the 6 channel video installation Convection.
Number One
Wood
Leighton Pierce
Looking outward, this is a segment from a series revolving around the relationship between Pierce's son and daughter. Their relationship is too complicated and too dynamic to understand. This piece doesn’t try to explain anything other than the fact of an overlapping acoustic environment and proximate activities. Looking inward, Wood is also a reflection on the many overlapping rhythms of the body.
Wood
Sitting
Leighton Pierce
An impressionistic journey of subjectivity as one submits one's self to an image maker. A woman offers herself as the source of an image to a female painter. A man photographs them both. What is at stake when one submits to the gaze of another? And, what is received from that offering? Using fluid visceral imagery and a spacious soundtrack, this short video illuminates the consciousness of both the act representation and the act of seeing oneself represented. Pivoting on the perceptual tension between experience and understanding, Pierce traverses the realm of the "looker" and the "looked".
Sitting
Red Shovel
Leighton Pierce
Red Shovel is an impressionistic documentary focussing on a few moments in a small town along the coast of Maine on the Fourth of July (American Independence Day). The approach to image is very painterly with the simple view transformed “with Turneresque luminosity.” Most of the unusual visual effect is from the careful use of a shallow depth of field and natural objects (blowing grass, bushes, etc.) to bend and twist the images into a languid sense of time. In the end the film documents a state of mind more than a particular spot. It also resonates with the ambiguous metaphoric threat of a national symbol impinging upon the child’s toy. - Canyon Cinema
Red Shovel
50 Feet of String
Leighton Pierce
"The slow and subtle repeated rhythms of daily life provide the material for this 12 part film. The pace is slow with the intention of inviting viewers into a more visceral and less verbally analytical state of mind. The 'action,' small events like the mail arriving, the storm coming, and the grass getting mowed, are secondary to the way of perceiving those events. In many ways this film reaches back into a kind of personal memory one might recall from early childhood." –Leighton Pierce
50 Feet of String
