
Erica Sheu
2021臨摹
Erica Sheu
I transcribe a relationship on film with what I find at home: the flower baby’s breath, love letters my father wrote and sun print papers my lover gave me. This film is a dedication to Shadow Film: A Woman with Two Heads (Nito-onna: Kage No Eiga) (1977) by Shuji Terayama - Erica Sheu
Transcript
阿嬤的剪刀
Erica Sheu
Is it a reconstruction of memory in the silence, or rather, notes before the memory disappears? The voice cannot be heard again, but one can still feel it through the eyes. The camera turns tactile into textile. The filmmaker connects with her grandma from her own craft to hers.
grandma’s scissors
Afternoon
Erica Sheu
Inspired by Jonas Mekas's essay, The Diary Film, this film raises a question of what a person is looking at out of the window. The three-act structure gradually reveals that the focus was drawn to the domestic life of the Asian neighborhood - a visual connection to the hometown. This film is part of Camera Rolls series by Eria Sheu.
Afternoon
Rainy Dog
Erica Sheu
Everything was not planned. We started the day, in a basement in Queens, New York, watching a Japanese cult film, Rainy Dog, which was shot in my hometown, Taipei, Taiwan. Hand-processed and solarized the film to hide the anxiety of unsureness. This film is a part of the Camera Rolls series by Erica Sheu.
Rainy Dog
Sunday, Monday And Tuesday I Was Out Of Film In Chicago
Erica Sheu
This film is a travelogue in Chicago, which is also a study on color and black and white, the expired and the fresh film, and the fast and the slow pace. I was looking at the city in the snow through the Costa Rican artist Federico Herrero’s installation, Alphabet, on the window at the Museum of Contemporary Art Chicago, and wondering what the difference would be between shooting this grey scenery with color film and with black and white film. As Herrero creates a landscape with color blocks, what landscape would I create with my two rolls of film? - Erica Sheu
Sunday, Monday And Tuesday I Was Out Of Film In Chicago