Field Studies: Rose Lowder and Scott Hammen

curated by Francisco Algarín Navarro

BOUQUET 5 © Rose Lowder. Courtesy of Light Cone.

Rose Lowder, 1979 | 16mm | color | silent | 31′ | 🎥 16mm

Scott Hammen, 1990 | 16mm | color | silent | 17′ | 🎥 16mm

Rose Lowder, 1994-1995 | color | silent | 11′ 33” | 🎥 16mm

Scott Hammen, 1995 | 16mm | color | silent | 11′ | 🎥 16mm

Rose Lowder, 2001-2005 | 16mm | color | silent | 14′ | 🎥 16mm

Scott Hammen, 1996 | 16mm | color | silent | 10′ | 🎥 16mm

Here are two excerpts from Francisco Algarín Navarro’s curatorial text. The complete version will be published soon.

Rose Lowder‘s filmmaking practice is based on a suspicion: pondering on the common assertion that film runs at a speed of 24 frames per second, she remarked that, on the screen, each image doesn’t seem to last the same amount of time. The size is identical, but, in its succession, the resulting image is a composite one. Before owning a camera, Lowder dedicated her time to the study of perception processes, making films with clear  leader, a paper perforator and permanent markers. What was the right interval between two frames in order for the eye to compose one image with both motifs? By way of stimulating certain receptors, two distinct images could be contemplated simultaneously. Between the reality of the film strip and the natural quality of the perceived image during the projection, between the image perceived on both surfaces, Lowder discovered an infinite space where she could manage optical subtleties created by the enjambment of the images during the screening.

Field Studies © Scott Hammen. Courtesy of Light Cone.

[…] Scott Hammen‘s practice was based on looking at the processed film, keeping what was interesting to him and filming again, without taking any kind of note. His films are successions of sequences, separated by black leader, short blinks that clear the viewer’s sight. The use of multiple exposures is only a very small part of Hammen’s repertoire, who used to go out to film bringing along a suitcase full of objects, dreaming of Charles-François Daubigny’s bateau-atelier, a floating workshop. Besides colour filters, the use of pieces of black cardboard allowed him to mask parts of the frame and to combine them with frames and borders of various colours. The shorter was the focal length and higher was the f-stop – the aperture -, the more he increased the depth of field and the detail of the borders between the masks. In other occasions, Hammen used supplementary masks – one of these consisted in a black rectangle surrounded by a transparent one, another one was a small transparent frame surrounded by a black one. […]

A series of notes taken from various statements made by Rose Lowder and Scott Hammen
– «Entrevista con Rose Lowder», by Vanessa Agudo, Francisco Algarín Navarro, Celeste Araújo, Arnau Vilaró. Published soon in Lumière.
– «Entrevista con Rose Lowder», by Boris Monneau. Xcèntric Cinema. Conversaciones sobre el proceso creativo y la visión fílmica. Barcelona: Terranova, 2018.
ESP: «Bouquets d’images», by Rose Lowder, booklet, París: Re:voir, DVD.
ESP: «Donner à voir plus que ce qui est filmé. Entretien avec Rose Lowder», by Éric Thouvenel, Carole Contant. Fabriques du cinéma expérimental. París: Paris Experimental, 2014.
– «Entrevista con Scott Hammen», by Francisco Algarín Navarro. Published soon in Lumière.

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