Caryn Cline

A recycled film that addresses our culture of waste. According to a Cornell University research report, eleven thousand tons of trash a day are discarded in New York City, and 15 to 40% is food scraps that could be composted. In COMPOST CONFIDENTIAL, handmade botanicollage film frames, saved from unrealized projects, were put in a compost bin, left for several weeks, then retrieved and optically-printed. In the printing process, the sprocket holes themselves, usually outside of the frame, were intentionally revealed as an element inside the frame. The soundtrack, recycled from an audio project, features interviews with urban composters at the Union Square Greenmarket in New York City.

LEFT SIDE, RIVERSIDE experimentally documents the filmmaker's experience of Riverside Park, on the left side of Manhattan. The film combines "live action" footage and in-camera double exposures. This footage is then further layered by superimposing and bi-packing the camera footage with handmade and hand-painted film frames created from plants and flowers gleaned in Riverside Park. The ambient sounds come from both Riverside Park and the filmmaker’s childhood home in northeastern Missouri.

Resurrection Fern spores brought from Florida by "more spores" Queen Linda Busta, tape-lifted and stuck onto 16mm clear leader. Then Caryn Cline worked her optical printer magic and rephotographed the original loop at two frames to one.

A collaborative botanicollage film poem by participants in the festival workshop, Dreaming Ecosystems, led by poet Mita Mahato and filmmaker Caryn Cline.

Mapping a Seattle landscape as the season turns, this film is an optical print of original handmade frames. Featuring hydrangea, geranium, nandina, camillia, oregano, vinca, snapdragon, cyclamen, violet, linden, clematis, linaria, birch bark and daphne. Music by Bay Area composer, arranger, and jazz bassist Chuck Metcalf used with permission.

On a gray winter day in Seattle, the Volunteer Park Conservatory offers a trip to a different climate: lush, wildly colorful, strange, and beautiful. IN THE CONSERVATORY experimentally captures the essence of the place, through the use of direct animation, ambient sound, and music. Plants from the conservatory’s winter collection were gleaned and pasted onto clear, 16mm film leader, then re-photographed on an optical printer while they were still fresh, resulting in a second, chance animation. The soundtrack combines ambient sound recorded in the Conservatory with a performance of a Samuel Barber composition, featuring Lucy Goeres on flute and Eliza Garth on piano.

A 16mm camera roll photographed in my front yard one day in autumn.

Narrative breaks down into a searching and tentative score, while optically printed flowers pass greens and reds and dirt against a scratchy white sky, then sometimes purples and blues and pink.

A subtle movement of dancer’s arms invites three panels of film into one frame in this micro-symphony of sound and image in which the changing light evokes the passing of time. Human and non-human, interior and exterior co-exist in this highly improvisational yet serendipitous portrait of the forever-changing city of Seattle. Collaborating to subdivide a 16mm film frame into thirds, Caryn Cline, Linda Fenstermaker and Reed O’Beirne present their separately shot segments simultaneously within one spatial plane. From the interplay of these three points of view emerges a cinematic conversation based on a horizontal compositional logic within the shared frame. This combined connotative relationship between the subframes evokes a spectacle of fractured spatial and temporal perspective.

“Ektacy” is a neologism, a combination of “ecstacy” and “Ektachrome,”.

A collaborative film produced in a botanicollage workshop hosted by filmmaker Caryn Cline at Experiments in Cinema, Albuquerque, NM, on April 18, 2014. Susan Caffrey, Megan Tucker, Bill Basquin, Mary Broemel, Bart Hood, Leslie Chamberlin, Antoni Pinent, River Quane, and Shawn White.

Caryn Cline composes a gentle, poetic film of optically-printed plants and leaves from her neighbor Lucy Goeres' terrace. Goeres also plays the flute on the accompanying musical track (aided with birdcalls and nature sounds as recorded by Cline herself).

A collaborative film made after a cyanotype on 16mm film workshop taught by artist and filmmaker Kate Lain, sponsored by the Interbay Cinema Society and Northwest Film Forum. Featuring film by Brenan Chambers, Brenda Burmeister, Caryn Cline, Chris Day, Cindy Stillwell, Devon Damonte, Eileen Roscina, Ellie Kozlowski, Jade Finlinson, Jen Proctor, Jonah Kozlowski, Panteha Abareshi, Paul Siple, Rana San, Ruth Hayes, and Ursula Brookbank. Music by the Greenblatt Generations Band: Dan Greenblatt (sax), Tatum Greenblatt (trumpet), and Ed Fuqua (bass).

HAND-MADE explores the artistic process of Seattle-based ceramicist Liz Gamberg, who hand- builds her pieces before painting, etching, drawing and stamping on them.

“All Flesh is Grass” experimentally documents a prairie restoration project in northeast Missouri, combining source footage and handmade “botanicollage” film frames, using in-camera and optical effects.

In 16mm, hole-punched black frames, their inner circles filled with plants gleaned in Seattle, animated and optically-printed, interact with the complex rhythms of Barcelona-born, New York-trained composer and jazz bassist Alexis Cuadrado’s group, Noneto Ibérico.

The origin story of my mother's struggle with manic-depression (aka bipolar disorder): the rural prairie in the 1950s, an old boys’ club of “deciders,” a puzzling disease about which little was known. I interviewed my mother in 2000, using a DV camera, but never managed to complete a piece I was satisfied with. After her death, I rephotographed a singular gesture from that video interview onto high-con film (Kodak 3378), then developed cyanotypes from and optically printed (including direct bi-packing with leaves) those sequences onto Kodak 50D.

I shot and hand-processed “live action” scenes on the farm, using organic materials (trees, flowers, plants) as “mattes” for my post-residency work in the optical printer, where I combined these mattes and scenes with handmade “botanicollage” film that I created from plants gathered at the farm.

Cline coined the term “botanicollage” to describe the technique pioneered by Stan Brakhage (Mothlight, Garden of Earthly Delights) in which flowers, leaves, and other organic matter are fused directly onto celluloid.By placing plants in an unfamiliar context, the filmmaker aims to transform reality.

By presenting three filmmakers’ work simultaneously within a single 16mm frame, Tri-Alogue #2 offers a complexity of perspective that undermines the omniscient cinematic gaze and evokes a deeper relational mystery. Collaborating to subdivide a 16mm film frame into thirds, three lmmakers present their separately-shot segments simultaneously within one spatial plane. From the interplay of these three points of view emerges a cinematic conversation based on a horizontal compositional logic within the shared frame.