This has work has to do with the aggregation of my videographic work, over time. I put at least a sporadic emphasis on "montage", because I can't help it. The theory has been key, and inspiring,  both in the context film history, per se, and in the context of my lifelong exposure to pop culture, not to mention the fact that a flood of impressions, evocative for formally and in terms of narrative, may be one key tool in our making artistic sense of . . . the complicated world.

The medium is, very specifically, not the message, and video is not about painting. All the media are about perception, to a degree, and they are about material existence. 

One sensibility carries through all the work. All of it has to do with loosely implied "narrative" in constant confluence with the phenomena of existential and technical process, over time, with painterly-optical considerations, along with those of narrative, being brought into videographic conception.

Meanwhile, I love film, as well as fiction, incidentally. Much of this montage, and these fragments, with an emphasis which is per se optical, at least in part, may be joined with greater and more explicitly fleshed-out narrative. All these processes are to be further and more explicitly integrated, and my soon-approaching travel is key. I have planned my approach to video, and painting, over the next month, and upon my returned. I'll be working large, with productivity and the means of digital editing all in line.

(Video is no longer a reference point, for painting. All actions are integratively self-aware.)

This project is designed to be seen in terms of my overall synthesis. It deconstructs the optical (as well as auditory) aspects of video, and includes older (musical) audio produced much earlier.

Time and perspective, as these effect visual phenomena, whether narrative or more purely optical, are that which unite my painting and my video. In terms both of co-responsive production, and of intermedia montage, I am uniting these media. All work, ultimately, is conceived to be seen on a large screen. Sensibilities are key, and exitential. There is traditionalism in some of my perception, though integration of the media is . . . properly . . . new.

This has to do with micro-analysis of select videographic passages, selected in simulatanesouly consideration both of the value of the stills in question, as such, and of the appreciated effect of their juxtaposition, in context, over time.

In at least one case, a video clip featurung a painting is included in a montage passage which is otherwise non-painterly.

This project is half-tangential, in that it has sprung from the priority placed on video itself.

However, it is key, as an indicator of filmic, or videographic, sensibility, and it gets thoroughly into the deep minutia inherent within the medium, and within all media, and the creative process, approached existentially.

In every selection, I am thinking of the interrelation between these media, fixations of sensibility and of technique, per se digital or otherwise.

I continue painting, though video is key, and I am currently digitizing all of my older analogue audio recording (largely for integration into video). "Multi-paradigmatic" is crucial to my entire outlook, in terms of any or all media. This idea is that any one artistically theoretical approach has its strengths, and possibly its weaknesses.

By revisiting works oveworks over time, in part, and  more generally by being cognizant to multiple approaches, always, I hope to produce work that transcends the limitations of any one theoretical approach. Rather than rejecting content, for instance, in favor of any one approach to form, or optics, I would like to have all these assets at my disposal, reflected in my final results, though any one wave of activity may energetically emphasize one focus, or a few.


I hope, always, to flesh out this breadth, fairly flamboyantly, while retaining elegance that may be appreciated "simply".

Digitally re-treated photography

Tangent to my videographic work is the continued examination and selection of stills extracted therefrom. Warsaw is a key city, not very publicized, in transition.

This selection is meant, by way of a split media emphasis, to emphasize a manifold approach to imaging.

The graphite works also feature a more specific and focused approach to narrative.

Thinking about all of this, this project along with the others, and my overall emphasis on synthesis, I am wrestling between, and striving to unite, highly inspired approaches to medium, and theory, practice, and the sporadic role of narrative, of sensibility both explicit and implied.