After editing the first film with images of words being written and wiped off my chest, mirrored and added to images of the rope wrapped around my arm, on the floor in a window of light, I walked around my house with the hand projector looking for surfaces and textures on which to project it. Because in the winter we heat most of the afternoons/evenings with wood, I had in my house a 200 year old wooden beam that was taken out of my in-laws house when they renovated. It was small and square on the end which perfectly fitted projection of the hand projector. The grains and cracks on the beam created texture and the color of it in combination with the light and exposure of the camera caused a reddish hue to the re-filmed films. This first re-filming of my distractedly edited film surprised me; the images especially of my body became raw, internal, vibrant, the grains and cracks in the wood were as visible as the letters I was writing. I had discovered an image that was as physical and tactile as it was visual, and in which, to my eye, the elements of body, movement, word, rope were nearly equally present; the word itself lost its dominance.
In re-filming x 2, I explored other surfaces like a white wall, a photograph of a rocky cliff, the glass of the wood stove. "Filming 3x on wood" uses the wooden beam again for consistency and because I wanted to see what happened to texture and color when the surface is the same. In this final film which is also not yet finished, the word and the symbol it creates begin to disappear. Color, shape and movement take over; the original detail is washed out, however the eye is drawn to other micro moments. This film exposes the inside of something; the filming x 3 brings the spectator to the inner side of the image by giving it depth; possibly the visceral, multi-layered being it was before it being filmed and honed into micro pixels and frames dependent on PoV. However, even in this complex play of movement, light and color, my detail-searching eyes find minute intricacies, mini pixels revealed and enlarged which disorder the order of attention I give to each separate element.
A note about the actual filming – it is quite a physical challenge to hold a hand projector motionless and a camera at the same time. At times I set the projector in a fixed position so I could focus on the filming. I wonder how much of this movement behind the camera or the positioning of my hands, body, eyes (which of course influences the film) is visible? How is the movement of the filming body relevant to the resulting film and could this be used as a method to create films? How could the spectator be moved by watching a moving camera?
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