Paul Clipson

Music by Austin Cesear, 16mm film by Paul Clipson.

Exploring impressionistic, emotional and sensory environments found within the vast natural and urban landscapes of America. Neither image nor sound takes precedence: the two interact and combine preserving a raw sense of the discovery that field recordings and in-camera edited film rushes often yield.

Orpheus meets the bird with the crystal plumage.

16mm film by Paul Clipson, and music by Sarah Davachi. Filmed in New York, Los Angeles, Hong Kong, Brisbane, Krakow, Sidney, Portland, Napa, Oakland and San Francisco.

A nervous portrait of a Zagreb train station filmed from the tracks. The imminent impact leads to seeing stars. Super 8mm film with music by Barn Owl.

Clipson, like some reckless traveller driven by a Mabusian force, takes us on a journey, hypnotically guiding us through a realm of dreams that seems to consist solely of light, shapes and colours. Shot on and screened from film. Soundtrack by sound artist and composer Lawrence English.

Water, fire and oil mix into an anxious premonition read across the surface of an eye, a pond and an expressway. Filmed in Los Angeles, San Francisco and Oakland. Music by Alex Cobb 16mm color and B&W film by Paul Clipson

'As for Paul’s case, what fascinated him through his camera—moving through space, often with a macro lens and the rack focus, the focus is shifting non-stop as his gaze moves along—his perception of the world itself became the subject of his film. Everything in his films has an equal presence; it is an animistic world. The nature of his reality is nothing but flux, and everything flows in the space. It is not a dream but the hyper-reality of his gaze and mind dissolving boundaries between the internal and external.' - Aki Onda

Paul Clipson unexpectedly exchanged his court sound engineer, Jefre Cantu-Ledesm, for a promising artist named Kadet Kuhne, who presents herself in this experimental film with ambient meditation drawing on the theme in Barake from 1992. Cadet is a very interesting creature who not only makes music but audiovisual art, sculpture, photography and canvas.

"Ephemeris" (2011) is a conversation of image and sound, between filmmaker Paul Clipson and electronic musician Aki Onda, rendered as if from a fragmented journey of landscapes and memories. Clipson and Onda each investigate very personal, intuitive spaces, through their favored technologies of Super 8mm film and cassette Walkman. Both artists base a significant emphasis of their work on performance environments, where their visual and sonic field recordings interact to create sensory collages born out of the subjective impressions of the audience.

Latest installment from the on-going collaboration between filmmaker Paul Clipson & musician Jefre Cantu-Ledesma. Paul's Super8 films, shot entirely in New York City, channel the blissed out states of color drenched psychadellia explored by Brakage as well as lovely black and white still life's that reminisce on Ozu's 'pillow shots' & Chantel Akermans monumental portrait of Pre-Giuliani New York 'Letters Home'. Jefre's music is culled from the same sessions that launched his 2007 release on Students Of Decay 'Shinning Skull Breath', (the two share a track in common). Billowy clouds of distorted guitar expand out into long passages of muffled static and fuzzed out melody.

Filmmaker Paul Clipson's underlying attraction to things that elude the touch finds its apotheosis in the translucent thread of the spider's web, contrasted here against the grey solidity of a factory building. Pitched on the lip of nightmare, ARANEAE accesses the sublime in the very small. - Max Goldberg

Film by Paul Clipson. Music by Jefre Cantu Ledesma.

A hallucinatory synthesis of nightscapes, focusing on colors, textures, and forms of light, viewed and traversed in several rhythmic movements. Using multiple exposures of neon signs, traffic lights and reflections in water shot in cities such as San Francisco, New York and Amsterdam, this film study transforms urban spaces into a unique nocturnal metropolis, suggesting a timeless, euphoric experience of visual memory. (Light Cone)

Director Paul Clipson's 16mm black-and-white video for "Come On" by Ilyas Ahmed uses double exposure to lay street lights over sidewalks, make leaves look as if they were printed on silver gelatin, and layer shadows upon shadowy figures in puddles and windows.

Paul Clipson puts us on the beach, just before fall, when summer is still present—a time we have a hard time realizing is still here because we know what comes next.

Short film by Paul Clipson.

A film by Paul Clipson.

Automatic-writing on film, using double exposures, macro imagery, dissolves, and in-camera editing to create a dream collage of Los Angeles, from the perspective of a plane and an arachnid dancing between water and sun.

Tracking shots of streets, alleys, walls, fences, and city landscapes are superimposed on top of each other moving in opposite directions - a moving collage of spaces passing themselves by.