Lorna Collins, Touché, DVD of 16mm film, 2 min 54 sec.

This is a digital video of a 16mm film made from painting on 100 feet of leader. I used natural materials (iodine, food dye, egg yolk, blood, mud). These materials and the film itself have since disintegrated. This was an intuitive, organic process. There were practical problems of utilising this medium, which influenced my decision-making process and the final effect of the film. The paint on the reel began to disintegrate as the natural materials went sour, and lost their colour. All that is left is my digital video of playing the film on the Steenbeck machine. My film engages with the materiality of the medium – and the technical features of the 16mm analogue film (the speed and sound of projection, the flickering lights, the transition of the reel) become a part of the liberating affect of the experience it provides when I watch it. This affect is poetic, ephemeral, tactile and temporal. It brings forward a direct moving sense that transcends the technology that enables it to happen and touches how I exist in time. In this way the film is like a surface for my own reflexive/reflective mirror. It liberates me as an artist. This is because the rhythmic movement, ascension and descending of colours and forms tremble and tumble into oscillating dimensions that present how I as an artist perceive the world. This viewpoint may seem ‘disturbing’ or even ‘mesmerising’, when the viewer watches the relentlessness of its disruptive duration. It opens up an interface for new kinds of perceptions about time and hapticity, and offers new possibilities for analogue film.


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