shot on Kodak Ektachrome 100D
scanned & developed @mononoawarefilm, Brooklyn, New York
An experimental attempt in photogram and contact-printing 35mm cut-down to 16mm and 16mm found footages on color print stock (combined from both positive and negative scans)
16mm B&W bleached footages
paint (indian inks), scratch, coffee-salt-vinegar-lemon, newspaper
inspired by a painting by Joan Mitchell, "Hemlock" (1956)
Shot on a super 8 camera by taking single frames and synchronizing the body movement with the camera movement, Au Revoir is a combination of disconnected, flittering images that pay tribute to Jonas Mekas’s radical diaristic style.
16mm, color print, silent
16mm, b&w, silent
The film was made by the techniques of photogram and contact-printing 16mm, 8mm found footages on top of unexposed 16mm hi-con film.
I am inspired by Man Ray and his rayographs -- "without a camera by placing objects-such as the thumbtacks, coil of wire, and other circular forms used here-directly on a sheet of photosensitized paper and exposing it to light". Man Ray extended the rayograph technique to moving images in "Le Retour à la Raison" (1923)
Captured on 16mm Film with a Bolex Rex-5 camera, and TTL Tobin Cinema Systems Animation motor at MONO NO AWARE, Brooklyn NY 2021 *ECN-II Linear developing & timed work print by ColorLab, MD.
16mm color negative
cross processed color reversal
silent
Combining of 16mm, Super 8, 35 still images and photogram footages, the film documents protests and social movements across New York City in the height of a pre-election atmosphere.
color, sound, running time: 17m
Structured like a collection of home movies, the film consists of super 8, 16mm films, 35mm still photos, found footage, hand-painted film, claymation and digital videos of the filmmaker’s family in Vietnam. “Memories, Materials, Missing” is an attempt to understand the web that connects the elderly and the youth, to preserve the childhood of her siblings and cousins, to treasure fragmented mundane moments that are easily forgotten in daily life. The filmmaker’s cinematic exploration and imaginary archive of her family offers an intimate, nostalgic look into seemingly private memories yet speaks of her own personal cultural values and social histories. In the process, the filmmaker allows herself and her audience inside to see and feel beyond the blurry, fast-paced, and disconnected images.
scratched, painted and bleached on found footage
Camera Less Animation, Mono No Aware, Fall 2019
shot on Bolex H16 Non-Reflex
inspired by Dziga Vertov’s “Man With A Movie Camera”
developed and scanned by Cinelab
Shot on two rolls of Super 8, Vision 50D and 200T in Los Angeles and New York, "Reverberance" is a collection of fragmented memories, a meditative reflection of an attempt to unpack experimental cinema (the relationship between camera movement, camera vision, and human perception) and my own aesthetic intentionality (shooting and editing the materials). The sound design features a layering of ambience audio gathered from Los Angeles, New York and Vietnam that I did throughout the year of 2019, overlapped interviews with Stan Brakhage, Jonas Mekas and Nathaniel Dorsky, different sound effects of film grain, film leader, film projector, implicitly paying tribute to the wonder of working with the physical film itself. The final audio is from a recording of my cousin "mumbling" when she was 6 months old.
- The Los Angeles footage was processed by Spectra and scanned by Pro8mm
- The New York footage was hand-processed by myself and scanned at Mono No Aware