Duncan Taylor

"Brown Pelicans at poolside . . . porpoises and family footage superimposed. An adolescent at the diving board seen from the neck down. A beach ball floating across the surface of a pool. Emulsion drenched." (Bruce McClure)

Footage amassed from a randomly chosen assortment of Chinese movie DVDs sold at a curbside stand on Grand Street near my old apartment was used to construct a three part reflection on the stages leading up to, and immediately following the end of, a romantic relationship: longing, loss, and acceptance respectively.

Edited entirely using on-board VCR controls (fast-forward, rewind, pause, play), this video uses material culled from a trance music video and a car factory documentary, set to a remix of a remix of Toto's Africa. The cyclical, inhuman machinery of a factory, repetitive and heavily structured commercialized music, and the cyclical degradation and inevitable destruction of image and meaning under capitalism. An experiment in low quality.

Drunkenly running an old skateboarding VHS tape through my video synth, violently messing around with the FM radio dial. Without a tripod, the camera drifts around aimlessly, like me after a couple rounds.

A distant love better off forgotten, abstracted through images spread across four formats (miniDV, Super 8, 16mm, iPhone) shot over a three year period.