The piece encourages us towards a wider-awake vision, towards more sensitive ears, with attention facing both inwards and outwards, and on the perceptual spaces in between. True to the soul of our times, it is deeply moving and beautifully well-realised.
George Simpson is the creator of the soundtrack, providing a track called “Artemis”, from his album Still Points In The Turning World. Emotionally affecting, with an elegant and simple extended first movement, followed by expansion into expressive drama, the music coherently accompanies the visual and textual elements in an organic way.
All the elements of this video merge to become an audio-visual experience far more than any sum of its parts.
The video was shot around Adelaide, the Fleurieu Peninsula, Inner Suburban Melbourne, the Western Highway, and Far North Queensland. An only-slightly futuristic vision of a flooded urban landscape was achieved through the use of video compositing.
After The Incoming, The Overflow, our future lay within the tides, no turning back, no neap, no ebb, an undertow of uncertainty and doubt… Taunting us, an illusion of normality… We have run out of options, we are battling for breath…
It received the Honorable Mention at the Experimental Forum Film and Video Art Festival (Los Angeles, July, 2019).
After reading Albert Samaha’s powerful reporting on the first hate crime after 9/11 in the United States, I was inspired to make this found footage retelling of a glimpse of his story.
Here’s the Buzzfeed article she drew upon for her information and some of the text.
Bernard O’Rourke is an Irish writer, film-maker, and spoken word artist, new to Moving Poems. Filmed along Dublin’s Grand Canal, his City Swans reflects discontent and restlessness within the enclosures of city life. The poem is richly voiced by Bernard himself, woven into the melancholy whimsy of Brendan Carvill’s guitar chords. As an ensemble, the piece evokes a sense of sky-born hope glimpsed in lowly places. It was a finalist in 2018 for the Ó Bhéal Poetry Film Prize at the IndieCork Film Festival, Ireland.
Recently I became part of an international collective of artists called Agitate:21C. In its short existence, it has attracted about 300 outstanding experimental, avant-garde, and generally ‘other’ artists from around the world, including film-makers, poets, curators, critics, lovers of the arts, and just about any kind of alternative creator, focused on any medium, genre, style or form.
Originally part of a larger art installation created for Alchemy Film and Moving Image Festival, Alphonso’s Jaw was the first poetry film I found via A21C. It is written and directed by Scottish artists Sarahjane Swan and Roger Simian, also known as Avant Kinema. Sarahjane appears in the film and voices the piece in English and French. I find it virtuosic in its fusing of word, soundscape and image, as well as deeply moving in its meditation on the timeless horrors of war in the lives of individuals.
This is an excerpt from what the artists have to say on the film’s page at Vimeo:
The installation, and our subsequent short film, were inspired by our fascination for two objects we discovered amongst Edinburgh University’s Anatomy Collection: (1) the cast of a disfigured face; (2) a prosthetic jaw constructed on an early nineteenth century battlefield.
Through some research we unearthed the story of Alphonse Luis, a young French gunner struck by shrapnel at the Siege of Antwerp, 1832. Having suffered horrific facial injuries, losing his lower face, Alphonse’s quality of life was eventually improved when the Surgeon-Major and a local Belgian artist collaborated on the construction of a silver prosthetic jaw, painted in flesh tones and adorned with whiskers.
We uncovered historical accounts of Alphonse Luis’ injury, surgery, recuperation and rehabilitation in medical journals of the day, and drew on these for an exploration of identity, disfigurement and reconstruction.
In Alphonso’s Jaw we imagine that Alphonse Luis has become dislocated from history to exist outside of any specific time or place, trapped in eternal convalescence, soothed by the dreams of his Battlefield Muse, who is equal parts Night Nurse, Scheherazade and Beauty from Beauty and the Beast. Luis’ Battlefield Muse is, in turn, both horrified and fascinated by her patient.
The poem, titled “Beauty and the Silver Mask,” can be read at Avant Kinema’s blog, in both its full English version and the short fragment of it spoken in French, which was translated by Raymond Meyer.
Fellow Australian film-maker Brendan Bonsack is one of the finest of the lyrical video poets I have encountered. Multi-talented, skilled and prolific in film, poetry, photography, performance, and music, he is also a generous supporter of poets and their culture in this country, especially in Melbourne, where he is co-producer of a community radio show devoted to the spoken word.
Snow Memory is a wordless video poem, alluding to its themes in beautifully composed images and music. There are suggestions of fragmented narrative to be found in the precisely rhythmic editing between images, some shot by Brendan, others drawn from archival and alternative sources.
Whether finding expression in videos, poems, or any of his other chosen forms, Brendan’s work is inspiring to say the least, its effect on audiences well described here:
“Bonsack has one of those voices that fills a room with golden light…”
Nkechi Anele, Triple J Radio, Australia
In the case of this film, it’s a snowy silver.
In my first post as a contributor to Moving Poems, I am delighted to introduce to the site the work of Kathryn Darnell. Her Write Out: A Scribe’s Haiku #3 is part of a series of animations of original haiku about her work as a calligrapher. Music is by Elden Kelly.
Kathryn has been a professional illustrator and calligrapher for over 30 years, dividing her time between commercial art and fine art practice. Her “animated calligraphics” are an extension of her passion for letters. Her personal artwork is regularly exhibited in galleries, and she is an adjunct professor of art at Lansing Community College.
In 2018, her video, Things I Found in the Hedge, in collaboration with UK poet Lucy English, was the winner of the inaugural edition of the Atticus Review Videopoem Contest, which I judged and discussed in Moving Poems Magazine.