Rock Ross described this atypical collaboration as “a celebration of abandon in the parallel nation” and he wasn’t being completely tongue-in-cheek. VESPUCCILAND: THE GREAT AND FREE is an exuberant and witty dance for the camera, shot in vivid, defiant color, records half a dozen spitfires (inclu...

An assortment of unnamed meanings. Fragments of light. Photography, to Jordan, is not about things but about light. Light is our primary reality when we are at the movies: light which suggests things, the secondary reality, a construct by the mind. THE VISIBLE COMPENDIUM attempts to engage the mi...

Originally photographed in 1957 but edited in 1978. The protagonist, poet Michael McClure, emerges from the all-reflection imagery of glass shop and car windows, bottles, mirrors and so forth, in scenes which are also accurate portraits of both McClure and the city of San Francisco of the late-19...

VOID VISION is an abstract science-fiction short in which the real and the simulated are equally constructions; a space where doubles, twins, duplicates, re-creations and copies blend into one another.

VOID VISION combines a science-fiction sensibility with the aesthetic of early CG animation ex...

Among the wanderings that began in the 1950s was a three-year stint by the filmmaker in the merchant marine. WATERLIGHT is a night-and-day impression of the never-constant, ever-changing vast ocean and its companion, the sky.

An unfaithful interpretation of John Zorn’s early-'80s film-script, A TREATMENT FOR A FILM IN 15 SCENES. The results of WELL THEN THERE NOW is considered a “list” film since Zorn’s conceptual film-script is more of a shot-list than a screenplay. The finished film is an exploration of the singular...

A critique of the phenomenology of the studio space presented by Bruce Nauman's piece, "Walking in an Exaggerated Manner Around the Perimeter of a Square" from 1967 . The "exaggerated manner" being the pimp walk or swagger; both a culturally-specific and masculinist gesture in contrast to Nauman'...

The cycle of the city of San Francisco as one proceeds through a day of work.

"Soon there will be shown to the workers of New York the evidence gathered by the keen eyes of our cameras. This evidence is totally unlike anything shown in newsreels taken by capitalist concerns, Whereas the capitalist cameramen... were constantly on the lookout for sensational material..." — ...

A nervous little boy is visited in the night by three snakes who want to teach him about mortality. This abstract narrative is inspired by early memories which were accessed through meditative writing practices.

ZWISCHEN [BETWEEN] exists on the thin line between opposing forces. There is no grey between black-and-white, as ZWISCHEN jumps from earth to space, mixes matter with air and materializes inspiration at the insistence of the hand. Dirt moves over light to a hand-drawn soundtrack of noise and space.