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A couple of weeks ago Greglio and I were driving home from work when I asked him:


Do you make art to make a statement or start a conversation?


We discussed the value of both, yet it was pretty clear to me the intention of my work - more and more - is to start conversation. For me, this is the bit that is most enjoyable; it is at this point I find meaning in what I do.


I know what types of conversation I’m trying to engage in with Febrier. Most of them surround tensions between varying points of view and experiences, including the mediated, the ordinary and the imaginary. There’s that old chestnut of human communication and modes of engagement, and an exploration of film form through the construction of authenticity; the autobiographical; the ephemeral and the robust; and the industrial, the amateur and the experimental. My feminism also informs all of what I do. However, the key to starting a conversation is finding someone to have it with.


There aren’t many cosy open-fire retreats for films that identify as “experimental/documentary/dramas in a gentle narrative form” (which is how I fill out forms when pressed). Plenty of older filmmakers tell me about the halcyon days of the 1970s: the time of the film co-op, when La Mama produced nutty experimental cinema and when the Government funded such investigations. The economy has shifted and for the last year I’ve been wondering if I must now reinvent myself as a video artist simply out of the desire to have my (non-industrial) works seen.


While there is a glut of a certain kind of film festival, my experience of them is they perform a particular function for films made in an industrial context. Having your movies selected for film festivals is akin collecting badges in the Girl Guides: status is awarded for fulfilling prescribed criteria. More adventurous screen works seem to be appearing in the world of video art, and there appears to be many sites of exhibition and funding for these presentations – but these sites pose huge limitations for narrative cinema, primarily because of the distracted way the transient audience is encouraged to interact with the works.


I’ve thought long and hard about how form relates to space and differences between the cinema, galleries, public spaces and the Internet. Although I’ve dabbled in works that suit a variety of modes of exhibition, when it comes down to it, I really like to tell a structured story to a captured audience, which is why I’m scattering dvds and chasing you with my butterfly net.


next…#4