3. Lights off. A hat turns on & may get shuffled back in a stock shoot. A dance constructs itself as a walking tour in stages. Start by sitting in which no one begins to move. Moving, should be possible--to be there and here. And down on stage a dedistancing, the audience sees the production of a sort of vista, a host for incoming shadows beginning or floating forward. Projections string along, stretching like ribbons through the tangled scaffolding & gathering up, window by window, the flapping flags. This against this, this show you get = contro-reflectographs. Rushes ahead, the gags are interchanged & all flattened in and bound the four edges of a sort of model - a one-way instruction toward the world in big shaggy silhouette.

THE DECOY AS ART

Style trusts surface. A puff. Shoot thru foggy glass, or make them look floating or float w/ strings. Footprinted on the clear light, a film procession stumbles adrift, wayward straggling shots conduct through unimaginable lights. A gag can reappear much later (reframed) as an aggregate of muddled departures, with everyone already feathered in rub-on costumes. A compounded glimmer could hopefully appear, a dream transmitting at a few high frequencies. Or maybe just nothing. Regardless, this routine builds up clutter and then empties it out. Out of the overlapping arrays, a sense, these apparitions are staging a traffic jam. Big out-of-tune cluster of projected presence. Shots that didn't exist before, don't exist on film and weren't on the screen. The mental moves remain in motion (beyond the accumulation of images). And the best films get up and walk away as they come off the screen.

Jay Sanders

October 18th, 2007, at TPW Gallery, Toronto

Cake FROSTITUTION Curtains ANTHONY HILL Silkscreens WILL MUNRO Photos CHRIS CURRERI Thank You Goethe Institute Toronto, James, Ruth, Kim, Chris, Gale, Phons, Karen and Kevin.