the flower in the film is an amaryllis, a tall flowering bulb originating from the western cape in south africa, and seen for sale in the winter months. it is a splendid flower whose petals have a sparkling iridescence. the film was shot on 16mm colour film, primarily with a macro lens and extension tubes, with the aim that the whole frame should always be red, creating a red field. using extension tubes considerably shortens the depth of field, so that much of the image, particularly that of the interior of the flower, is in soft focus: the central pistol, the stamens and the anthers which produce the yellow pollen, appear to float in a sea of red. (jayne parker)commissioned by tintype gallery, london for essex road v, supported by arts council england.
cinematography & editing jayne parker | screening format file | distribution / copy source jayne parker
time-lapses of cacti and succulents over the course of a year. environmental data drives the tone and filtration of the sounds while the rising and setting of the sun illuminates plant growth in and out phase with each other. (eric stewart)
grasp the colour of shades, that was brought from light passing through safflowers. it dyes particles, time, and a very tiny universe. a long ribbon of celluloid looks similar to a textile dyed with the colour of shades that light creates. in this film, i directly pasted seeds, leaves and petals of safflowers onto a 8mm film print, and fixed their shades on it. (oki kayako)
extreme close-ups of various flowers in a garden in meudon, france, originally shot for a 2-channel installation in andré bloc's habitacle. the soundtrack is niblock's "praised fan" for bassoon (2016), performed by dafne vicente-sandoval.