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)

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

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.

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.

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.