Jeremy Moss

In Marfa

Jeremy Moss

Created in-camera in Marfa, TX on a freezing day in January on expired film with my Bolex while the sun was setting.

THOSE INESCAPABLE SLIVERS OF CELLULOID

Jeremy Moss

Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush, circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to moving image.

Arch

Pamela Vail, Jeremy Moss

Pamela Vail

A solo performer (Vail) dances free of societal restraints. Fluid sequences of movement are situated in a non-hierarchical, undetermined space. Transcending time, place and individuality, the film constructs a world of multiple positions and perspectives.

Gods of Light, Idols of Mud

Jeremy Moss

Three characters are abruptly introduced in surreal fits of action; actions that are attempts at escape and transcendence, but ultimately fail to satisfy. The modern city acts as the ominous catalyst.

(UN)TETHERED

Jeremy Moss

Pamela Vail

Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide.

THAT DIZZYING CREST

Jeremy Moss

Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.

The Blue Record

Jeremy Moss

Combining hand-processed 16mm imagery, a deconstructed lyric essay, and an ambient score by composer Vicki Brown, The Blue Record meditates on the pastime of ruin-gazing and its application across a wide range of aesthetic experiences. Informed in part by the work of Alain Resnais, Walter Benjamin, and the Romantic poets, The Blue Record is a collaborative study of what happens when the process of decay is arrested and ruins become commercial entities. Shot on location at Eastern State Penitentiary in Philadelphia, the film is at once an immersive and Brechtian examination of the experience of destruction as an aesthetic pleasure.

Death/Destruction/Some Other Terrible Fate

Jeremy Moss

A show about the unused and the discontinuous. They build in obsolescence. They invade us with updates.

CICATRIX

Jeremy Moss

A textural experience in layers, scars, and deterioration that combines hand processed, tinted, and toned 16mm imagery. Both sight and sound ooze and emulate those tangible tremors catalyzed by increasing awareness of loss and decay. Initially created at the Independent Imaging Retreat (Film Farm) in July 2012.

I, Apostate

Jeremy Moss

Paul Harrold, Brad MacDonald

A fantasia of post-indoctrination, immigration, and iconography. A pageant of wanderers and searchers: Mormon missionaries, a pioneer, polygamists, scouts, hunters, church-goers, and an aspiring prophet walk and walk and walk. A pilgrimage of memory, history, ancestry, and place.

The Sight

Jeremy Moss

A song of creation: immaterial space spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Created at the Independent Imaging Retreat, the landscape is seen anew by 16mm hand-manipulation giving rise to a geometry of trees and meadows; the sonic score is subjected to similar direct manipulation.

CHROMA

Jeremy Moss

A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.

Camera Sick

Jeremy Moss

Grain size criteria. Pixels in space. The earth spins while bodies and cameras wind and rotate on its surface. Sand particles infest recording devices scratching unravelling celluloid. The camera and its operator transform from seers to ecstatic performers.