What's Out Tonight Is Lost

From Viennale

In his early analogue days, Phil Solomon was a master of the optical printer, which he used to repurpose altered found footage and self-shot imagery frame by frame—a patient labour of cinematic love. THE SECRET GARDEN harnessed a prism to split Solomon’s manipulated lighting of passages from THE WIZARD OF OZ (1939) and THE SECRET GARDEN (1949), abstracting their tales into a submerged struggle of wondrous innocence and arduous stroboscopic experience. REMAINS TO BE SEEN is derived from photochemically altered home movies, self-shot landscape and found medical footage, rendering fragile states of consciousness and poignant retrospective reflection. TWILIGHT PSALM II: WALKING DISTANCE photochemically alters sources including the biopic HOUDINI (1953) to walk a perilous tightrope between abstraction and figuration while tipping its hat to Anselm Kiefer and Stan Brakhage in terms of texture and epic nature. (Eve Heller)