Underground Film Journal

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Union Docs: Madison Brookshire’s Color Series And Veils

By Mike Everleth ⋅ October 31, 2013


November 2
7:30 p.m.
322 Union Ave
Brooklyn, NY 11211

Hosted by: UnionDocs

Los Angeles based film artist Madison Brookshire will be in attendance to screen his camera-less productions Color Series, which is one cohesive work made up of six short films, and his work-in-progress Veils. There will then be a post-screening discussion between Brookshire and writers Leo Goldsmith, Genevieve Yue, and Gregory Zinman.

Below is a brief statement from Brookshire and a description of the films, all taken from the UnionDocs website, where you can find even more information about the screening.

“The cinema—or the gallery, or the garage, or anywhere moving images are projected for other people — is a real space that is usually intentionally collapsed into the flat space of the image on the screen. My work attempts to give one an opportunity to experience both spaces at once, the one represented on the screen as well as the volume in the room. The cinema is, after all, a social space for shared experiences. In Color Series (2010) and Veils (2013), we experience the effects of light on our bodies over time.” — Madison Brookshire

The Films

Color Series (74 minutes | USA | 2010 | 16mm silent)

One work consisting of six films that run for a total of 74 minutes. Each film fades between colors. They are made without a camera, using only the lights of the printing process at the lab. The fades are slow enough that they engage the viewer in a dialogue about the border between the work and his or her own perception of it. The subject of the work is duration and color is the medium through which we experience it. The converse is also true: the subject is color and duration is the medium. The effect is a direct experience of time and vision.

Veils (work in progress) (15 minutes | USA | 2013 | 16mm silent)
Veils is a hand-made, paint soaked film, allowing evaporation, dust, crystallization, mold, and more to inform the image. Stained with pigment and saturated with time, the result is a turbulent palimpsest with many layers and textures visible at once, each moving with its own rhythm. There is an affective quality to the excesses of the imagery that is both repetitive and ecstatic, yet the overall experience is quiet and reflective.

Madison Brookshire’s recent films attempt not to posit another time onto the space in which they are projected, but rather to heighten or exaggerate the feeling of the time that is already in the room. Using a spatial language derived from painting while exploring temporal modes influenced by drone or “non-timeline” music (per Robert Ashley), these films try to create spaces for reflecting on the feeling of different expanses of time.

Fillm still from Veils, courtesy of Madison Brookshire:

Abstract collage of red blue colors

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