Rogue Studios Project Space, 15 June 2014, 6.30pm free
Martha Jurksaitis is an analogue artist filmmaker whose early years were spent looking through kaleidoscopes, exploring gardens, and watching films. She founded Cherry Kino film lab in Leeds, and works with Super 8 and 16mm film which she hand-processes using a variety of alchemical techniques. Martha travels to different lands in pursuit of different kinds of light and shows her work internationally at a variety of festivals and galleries. She still loves kaleidoscopes. All Richard Tuohy’s works are hand-processed from camera neg, optical sound neg, intermediates and opticals to final prints:
“This is done in part out of necessity, but also, and more interestingly, out of a sense of opportunity; while the closure of commercial film labs has meant that it has become increasingly difficult to access traditional laboratory services, it has also created an opportunity for artists to get their hands on this now largely redundant equipment, providing access for experimentation and exploration of a new set of creative possibilities. These works speak of that new opportunity!”
Richard’s work to be screened:
Blue Line Chicago – 2014, 10′, 16mm. Architectural distortions of the second city; Tree Lines – 2009, 8′, 16mm . High country, high contrast. A collision of lines and patterns from the wood of burnt trees; Seoul Electric – 2012, 7′, 16mm. A North Asian metropolis. Electricity wires draped like thick webs adorn the street scape. Explosive sparks of colour electrify the frame. Filmed in Seoul in black and white. Colourised during processing using coloured torch light; Ginza Strip – 2014, 9′, 16mm. The Ginza of fable and memory. This is the first film I have finished using the ‘chromaflex’ technique that we developed. This is a very much hands on colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white; Dot Matrix – 2013, 16′, 2 x 16mm . A dual 16mm film involving two almost completely overlapping projected images. The ‘dots’ were produced by photogramming sheets of dotty paper (used for manga illustrations) directly onto raw 16mm film stock, then contact printed with ‘flicker’ (alternating black frames) creating strobing ‘interruptions’ to the dots. The drama of the film emerges in the overlap of the two projected images of dots. The product they make is greater than the parts. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector.