erika is a movement artist
& experimental film maker
currently living on earth.
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erika is a movement artist
& experimental film maker
currently living on earth.
<<< INDEX >>>
3 minutes 43 seconds
digitized Super 8 film, sound
WATCH OVERTURE A >
movement by Lynnea Holland-Weiss
sound: Sound Bath 2.0 by unknown artist
directed, filmed and edited by erika roos / earthfruit
This film features text from "How Fossils Form" by the National Park Service.
This work has emerged in two forms: OVERTURE A and OVERTURE B.
B has emerged as an iteration of A; a relative from the future.
Each film is a meditation on interspecies relationships; on how we touch and move (with) one another. Each film is also a reflection on disintegration and loss. As images are layered, they become less legible, even when their original form is retained underneath. Here I am thinking about sedimentation, and the way bodily impressions, like fossils, are both lost and preserved through processes of decay and decomposition.
OVERTURE A
OVERTURE A is a movement medi(t)ation with(in) the complex entanglements of bodily preservation and loss.
marking the artist’s first time working with analog film -- itself a bodily material -- and held by sustained, kinesthetic research into interspecies relationships with death and decay, OVERTURE is an open(ing) inquiry into how organisms (photo)synthesize and (de)compose time.
The film opens with a single sentence, a proposal:
other times, all that remains is a trace of that organism,
like a fossil footprint in wet sand
This opening – itself a kind of overture – alludes to the ways in which organisms sometimes leave no physical residue during decay. The film overlays movements of a human figure — indexed by the presence of hands — with the bodies of trees, moss, rocks, and sky. There is interspecies touch, marked by the human hand touching the skin surfaces of other life forms, and through the touching of images suggested by the layering of images. Images are superimposed onto one another, invoking layers of sedimentation over time. These layered images are chronological inversions of one another; one layer moves in a forward orientation, and one moves in reverse; yet, the ‘correct’ directionality is indiscernible. Much of the film is presented as the negative, calling forth the ways in which we make meaning through absence and residue.