Media Arts Program
 


Saturday, June 4, 2005

Eve Heller

BEYOND/IN WNY SCREENING

Presented at:
Hallwalls


Filmmaker Eve Heller in person
at Hallwalls (Con)temporary Arts Center, 700 Main St.

Eve Heller uses the intricate and particular beauty of black and white 16mm film to carve a space for the viewer away from the frantic pace of the traditional moving image. Sensitive, ruminative, and often disarmingly simple in appearance, these films develop an otherworldly atmosphere where the viewer is invited to grasp the profound in the everyday.

Screening program:
Astor Place (1997, 16mm, B/W, Silent, 10 min.)
Passersby in New York City speak silent volumes as they move by the mirrored surface of a diner window.

Last Lost (1996, 16mm, B/W, Sound, 13 min.)
A fable about coming of age in a shifty world of slipping terms, ‘found’ in the optically mesmerized fragments of a home market movie from the 1930’s about a chimpanzee’s high adventures at Coney Island.

Her Glacial Speed (2001, 16mm, B/W, Silent, 5 min.)
The world as seen in a teardrop of milk. I set out to make a film about how unwitting constellations of meaning rise to a surface of understanding at a pace outside of worldly time. This premise became a self-fulfilling prophecy. An unexpected interior began to unfold, made palpable by a trauma that remains abstract. First ‘words’ after an unspeakable loss.

Glint (2004, 16mm, B/W, silent, 5 min.)
Filmed in the waters of the Saugeen River and processed at Phil Hoffman’s Independent Imaging retreat in Southern Ontario, about a threshold of disappearing.

Behind This Soft Eclipse (2004, 16mm, B/W, Silent, 11 min.)
A crossing of paths behind the seen, a labor of love in the wake of one who was just here.

Other work to be determined will also be included in this evening’s program.


Some publications related to this event:
April and May, 2005. - 2005

 
 
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David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...