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About

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I am a filmmaker and media artist fascinated with expanded cinema, experimental film, video art, installation, and public intervention.  I like to believe that I can affect the electromagnetic energy of my audience through subliminal manipulation of the subconscious, and I achieve this in large part by co-opting the same strategies and cinematic devices used by mass media and advertising, such as the formulaic use of light and sound cues, and the time-tested technique of embedding hidden messages in single film frames. I believe there is tremendous power in the unseen, and I exploit that through the hidden mechanisms in moving images.

My process is a combination of primitive craft, and hybrid technologies. I often mark on appropriated images that have served as cultural icons and alter their meaning. I create direct film animations, investing hundreds of hours of real-time to color and scratch frame by frame upon celluloid, yielding three minutes of screen-time.  The product at the end of that laborious task is a distressed, fleeting image that leaves the audience unsure of what they saw and didn’t see, creating a rich and fertile ground for questioning.

I also disassemble images and present them as fragmented “scenes” incorporated into sculptural objects in my moving image installations. These works add 3D elements to the craft of “filmmaking” via assemblages that include miniature sets, transparency film, collage objects, and a light source, resulting in 3-dimensional projections. These pieces require the viewer to engage with the work personally by physically moving around the pieces in order to fully experience them.

In my public intervention and site-based installation work, my vision is to establish archival existence in the collective experience, propel the cinematic image beyond its conventional venues and its rectangular shape, and free the viewer from predisposed expectations about how to look at film and moving images.  Defying the standing assumption that art is created primarily for commercial consumption or archival conservation, I often tear apart one work to create another from the same footage, or project original works until they deteriorate.

I am very excited by time-based experiential work that expands beyond visual art as an object, though I do explore the physicality of celluloid as an object in my creation process when I draw and paint on film. Experiments with multiple projections have figured prominently in my work, as have multimedia collaborations with performance artists in a variety of disciplines, installations that involve nature and the outdoors, and interventions in various public and social spaces.

In my media design work with performance companies I seek an organic understanding between the dimension of space and time inhabited by the living performers and the dimension represented by the visual projections or set elements. My contribution to these collaborations is often to create a window into another dimension, another level of movement or action, occurring outside of – while at once adjacent to, or inside of – the defined dimension of the live action space.

My work, in any of its forms, is essentially an observation of the relationship between light, time, and movement, and the subliminal effect that this relationship has upon any given real or imagined environment, including the humans, flora and fauna that inhabit it. 

~ Dinorah de Jesús Rodriguez, 2018