PatrickHalm

fragments of lost memory through the lens of gravity, light and time


Films and Videos

ON THE OCCASION OF YOUR BIRTHDAY
1min HD video, color, sound, 2018

Memento mori.

 

EVIDENCE SERIES

EVIDENCE I
1min video, color, sound, 2010

An impromptu action shot on a flip phone. The most “searching” of the ten films. This film acts as a load stone to the series and sets the themes and styles to be recapitulated, examined, and recontextualize. Importantly,
• Birds as augury or intuition.
• The relationship of image to the printed word, or latter the spoken word.
• The interceding stance taken between humanity and nature.
• Physical and mental cages.
• Action and responsibility.

This film could bookend the series and act as prologue and epilogue but, by not doing so looking back is encouraged.

 

EVIDENCE II

2min video, color, sound, 2012

Is a found footage film and compares, to some degree, the impromptu of seeing to the impromptu of finding while expanding upon introduced themes.
• The emergence of weather as “all things”.

 

EVIDENCE III
:30sec video, color, sound, 2014

Reinforcing the observational. The Apis mellifera drinks water then lifts off; straight up into flight. Action verses force. The pattern within gravity becomes vivid.

 

EVIDENCE IV
3min video, color, sound, 2011

Contemplating the mimicked exercise of leaving earth, escaping a gravitational pull. Looking and looking away.

 

EVIDENCE V
13min video, color, sound, 2012

Solutions pondered through order, generosity, stewardship, and responsibility. Love and death mocked.

 

EVIDENCE VI

2min video, color, sound, 2011

Inevitable vows, inevitable bows, the natural course of the natrial force, till death.

 

EVIDENCE VII
2.30min video, color, sound, 2015

Domestic abiding - Deep caring - The watchful eye that observes - To read one life is to know another.

 

EVIDENCE VIII
1min video, color, sound, 2014

Reading Good Birds. RGB.

 

EVIDENCE IX

Buried in the heart of X. The cave that leads to the underworld is within a highway underpass.

 

EVIDENCE X
20min video, color, sound, 2018

There is no program here, just a thing to watch. The final report.

 

A DELICATE MESSAGE
4min video, color, sound, 2016

 

SWARM

1min video, color, sound

 

BLOOD OF THE DOE
5min video, color, sound, 2008

 

WORLDBEE
:15sec video, color, sound,

 

THIS VICTORY IS NOT DESIRED
4min video, color, sound, 2008

 

THE GIANT AT THE OTHER SIDE
2min. video, color, sound 2005
Inspired from a poem by E. Dickinson.

 

UNTITLED Part 2. BLUE RIBBON NEBULA
5min. video, color, sound, 2005

 

UNTITLED Part 1. KEEPING
18min. video, color, sound, 2004

 

GENETIC / ELECTORAL / SELECTION
loop. video, color, sound, 2004

 

INPUT / OUTPUT
4min. video, color, sound, 2003
Contemplation of the creative act reseeded. Balance is regained through the filtration of the

natural world and the mythic past.

 

PULSE
6min. 16mm, color, sound 2000
How to explain television to a dead hare.

 

AUTOGENIC THRESHOLD
10min. 16mm, color, sound 2000
Self made barriers and portals. The build up and release of the physical, emotional and mythic. The physical calm of emotional release.

 

SUBMERSED BUT FOR THE SAKE OF THE SEA
8min. 16mm, color, sound 2000
Visual gravitation. Mental levitation. The order the mind gives to the eye.

 

IN THE LAND OF GIANTS
20min. 16mm, color, sound 1997
Fear is the main theme of the film and it is explored through the use of unlikely and incongruous examples. Images of small finches, people in the rain, struggling body movement and proud owners of precious objects (low riders) compose this film. It examines the plain and simple, and the common force that unites them. It is a cinematic dissection by grouping and then a grouping by dissection.

 

I THOUGHT THIS WAY- WE COULD SEE IN STEREO.
20 min. 16mm, color, 1996 Musical score performed live by The Torture Chamber Ensemble. Score by

Marc Levinthal. Available only through filmmaker.

A film in four parts, with each part recapitulating and expanding upon previous visual themes.

Double and triple exposed images appear in an atypical film frame comprised of two narrow

horizontal bars. A subtext of communication murmurs under images of speed, climbing numbers, human relationships, travel, and horse portraits. Instead of being a ordinary film score, the music creates a dialog with the film. In some instances the music becomes an anchor for the dynamic flow of images across the screen and, in others, the film becomes another member of the ensemble. The score makes use of sets of melody loops based around a central theme, linked rhythmically and harmonically, but horizontally independent from one another by virtue of the uneven number of notes in each loop. This makes possible complex, shifting, pseudo-random patterns of harmonies and textures. In addition,

improvisations with specific restrictions occur from time to time. M.L.

 

THICK AS THIEVES
20min. 16mm, color, sound 1996
The film alternates between a visual program and a pure audio program. Excerpts from Victorian diaries (by a military officer and a society gentleman) are cast against each other and the supporting visual program. Images of insects, taxidermy and graphic symbols of Victorian secret societies are presented along with their modern day reflections and echoes. A film of open secrets, surfaces and the mysteries of tendency.

 

JOURNEY TO THE CENTER OF THE EARTH
12min. 16mm, color, sound 1994
A non-linear examination presents natural elements, human invention, statistics, and historical accounts. The film stems from an interest in the flat promise of technology, where the source of invention and the source of fantasy working side by side on the same idea deliver different end results. A reconciling film which concerns itself with the balancing of those results. The film borrows it's title from the classic H.G. Wells novel and some images from the 1958 science fiction film.

 

HUMPTY DUMPTY
12 min. 16mm b/w, sound 1992
The struggle to reconcile ones life as it is versus how you want it to be. Short camera bursts and image fragments create a fairy tale about fairy tales. Bits and pieces of fairy tails, along with some of the common (and not so common) storytelling signs, symbols and techniques were drawn on to make this film.

 

THE POISONOUS BEAR
9.5min. 16mm. color, sound
The film is formed of sections of differing film styles which loosely parallel film history and

its content. It is a coming of age film and, appropriately a first film. The gaining of awareness

via a gradual surfacing (the transitional). The realization of the change about to take place and the sensation of being overwhelmed by it and the overwhelming possibilities of film language.