Synopsis
Although constructed from thousands of still images of Chicago, ENDLESS maintains a complex relationship to the photographic image. Time and space seem to compress or implode into a contradictory experience - one which is fluid, yet static, sculptural, yet two-dimensional, of the present yet of the past. The images are layered vertically, 'endless' variations of time and space unable to be contained within the fixed boundaries of the film frame.
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1

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