Part of paraconsistent sequence series.

Animation of a 1967 constructivist sculpture by Hans Breder.

This is the hauntological image of the sacred Mesoamerican snake. The contemporary flickering of his shamanic presence. Part of the Hauntology series.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Players: Trina Vester, Karin Westerlund, Lise Kelleman.

Shot on location in Kobenhavn.

There has to be a way to win is the refrain. Three women fold clothes, stroll and shop as they discuss jealousy, murder and dead bodies. An enquiry into the generosity of women.

Players: Trina Vester, Karin Westerlund, Lise Kelleman.

Shot on location in Kobenhavn.

Taking its name from the Jim Crow-era of black criminals staring at white women, this hand-processed, optically-printed amalgam reframes desire by way of everything from D.W. Griffith to Foxy Brown and Angela Davis: 'Your lover belongs to this band of murderous outlaws.'

–– Cinematexas International Short Film Festival

This version of the film is a 2K restoration made by the Academy Film Archive in 2022.

A lighting psalmody by the current Mexican conflagration. Light through the veins.

8 stereoscopic slides taken to the jk-104 optical printer, shot frame by frame, by hand. This is the first hand processed color film I've made. The slides were found at a thrift store in Milwaukee, WI in 2009. They are of Cuba between 1948 and 1950 taken by an army officer while accompanied by his family. Their touristic gaze is reclaimed, by fragmenting their photographs into new possibilities of the frame, and reviving the bodies that may have perished by the revolution in 1952.

Part of the paraconsistent sequence series.

In this interview with Melika Bass, a Chicago-based filmmaker and installation artist, Camilo Restrepo discusses how he became a filmmaker and how he chooses to document his native home of Colombia. After pursuing a degree in painting, Restrepo got a “regular job” but found himself pulled back towards creative pursuits. Equipped with a Super 8 camera, he set out to document his home honestly, and without an excess of materials.

Part of paraconsistent sequence series and the hauntology series.

This is the ritual consecration to the moon, on whose eroded surface the colorful blood of the fruits is poured, which is also our pulsating blood disseminated in the celestial body of the moon. Sparkling bleeding body that crosses the dark space of our present times. Part of the Lunar Films series.

Polished obsidian mirrors, tezcatl, were once used in ancient Mexico for divination, to traverse into the worlds of the gods and ancestors.

Through the obsidian mirror, the solar and lunar ritual used to be a celestial dance. In Ritual, suns and moons whirl around, glowing brighter as their paths cross.

We came into the world under the sign of Saturn, the star of the slowest revolution, the planet of detours and delays. Saturn pulls the word down into its vortex and turns the flow of events into rings, lines and particles. There we are all invisible. There we have no face. There we have no name. There our present seems suspended. There we are all limbo.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

This is a gaze of the body and a notion of spectator that the 90´s decade constructed, this is the audiovisual legacy of the 90's for our actual audiovisual control world.

Part of paraconsistent sequence series.

These are the western lands of the mind. The western tracks in the land. The western landscapes of our time. The wasted times of our lives. Our communal Selfie. So is the rest of the Capitalocene civilization.

These are the remnants of mass culture in the collective unconscious that spill into reality. Part of the Hauntology and Post-Covid series.

Sensemayá is a shamanic composition, an ecstatic dance, and ritualistic spell which distills and exudes the kinetic motion of the ancient snake that inhabits our present dislocated times. Shifting from the poetic to the unsettling and the foreboding, Sensemayá contorts and repeats its patterns, pulsating images that feel out of time, encompassing the past, the present and the future.

Part of the paraconsistent sequence series.

Part of paraconsistent sequence series and the hauntology series.

A dissemination of suspended bodies in the liminal space.

The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.