Filmed with the Bolex Rx8 camera which was the exact same size as a 16mm Bolex but holding 4 times the amount of film time-wise. These rolls were spontaneously edited with my in-camera style and have emerged as portraits, mostly of artist friends, includi

Adam Roberts' Remake, reshoots the 1960's Italian Grindhouse horror film Seddok, l'erede di Satana by Anton Giulio Majano scene for scene with the later dubbed English soundtrack, but minus the presence of any of the films characters. The story centres ar

George is a work of art itself that delivers guffaws that erupt unexpectedly between poignant moments from Maciunas’s childhood traumas to tangling with the mob and the attorney general of the State of New York during his innovations in constructing the loft culture of downtown Manhattan. Jeffrey Perkins’s George is an important new addition to the twin canons of art and anti-art.
-Mark Bloch, Brooklyn Rail

Part essay, part film poem, Magic Mirror translates the startling force of French surrealist Claude Cahun’s photographs into a choreographed series of tableaux vivants. Re-staging Cahun’s black and white images with selected extracts from her book Aveux Non Avenus (Confessions Untold), the film explores the links between Cahun’s photographs and writings. Cahun’s multi-subjectivity, as expressed in both her photographs and book, set the scene for the film, where she dresses and makes her face up in many different ways, swapping identities between gender, age and the inanimate. The splitting of identity appears as a double which persists throughout in image and voice; as literal double through super imposition, as shadow, imprints in sand, reflections in water, mirror or distorting glass. The kaleidoscope aesthetic that runs through the film serves not only to weave between image and word but also between the work of Cahun and the films of Sarah Pucill, creating a dialogue between two artists who share similar iconography and concerns.