michael alexander morris
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| Fires - Super 35mm on HD - 14m - 2013 | |||
 
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A wide view of the jagged line between landscape and skyscape. An arranged collection of fragments. A study in the limits of autobiography. Fires was shot with a Lomokino super 35mm camera on the 135 format and transferred using a flatbed scanner. During the shooting of the film, difficulties were introduced by the elimination of the consumer line of 135 film. The result is a series of stories and landscapes in which objects and the memories attached to them are constantly disappearing. |
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| I Can't Wait To Meet You There - Digital Video - 12m20s - 2010/12 | |||
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A meditation on subjective experience of public mourning and the ways recorded media affect our understanding of mortality. An elegy and a prayer for Kurt Cobain. | ||
| Confessors - 8mm on Digital Video - 19m - 2010 | |||
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Confessors is a short, personal essay that attempts to retrace bits of lost or inaccessible family histories. The artist’s grandparents give him a can of film marked “x-rated” without explanation, as well as an old 8mm camera. The film was lost before he was able to watch it. The resulting video is a consideration of the ephemeral nature of home movies and the lives they can’t help but fail to preserve. | ||
| We Would See A Sign - Super 8mm and HDV - 13m30s - 2009 | |||
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We Would See A Sign is a short High-Definition video that considers first hand vs. mediated experience of possible supernatural phenomena. It challenges the viewer to trust or distrust what they see and experience in both solitary and public situations. | ||
| Kyrie - Super 8mm and Mini DV - 13m30s - 2009 | |||
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Kyrie, named after the first movement of Wolfgang Amadeus Mozart's Great Mass in C Minor, is a collage constructed from images downloaded from the SOHO space telescope and other materials collected from my family’s attics and closets, as well as a meditation on the inheritance of ideas. | ||
| Invocations - Mini DV - 15m30s - 2008 | |||
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Invocations is a reenactment of baptisms and first hand spiritual experiences. By invoking masters of cinema and revealing the workings of the cinematic apparatus, this piece attempts to illustrate the complicated relationship between public and private performance under social pressure and the genuine experience of belief and doubt. | ||
| Hillary For President, Beware of the Dog - DV - 3m38s - 2008 | |||
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An entry from my video journals, taken in June of 2008 just after Hillary Clinton's defeat in the primary elections by then Senator Obama. A look at life in Pleasant Grove, a neighborhood in southeast Dallas, as the election passes by. Shot on a clunky Kodak Easyshare. |