Artist in Person. Presented with support from the Theresa HakKyung Cha Endowment. Lynn Kirby's Three DomesticInteriors (1993, c. 40 mins, Color) can be seen as a rethinking ofportraiture. She depicts three people-a young woman, an older woman, anda young man-in their respective living rooms. The filmed portraitsreveal still lives. Alone amid their possessions, they are isolated fromany larger social context. Their connection to the external world isthrough sounds that seep into their domestic space and via thetelephone. Through "eavesdropping" on their conversations, wehear them tell stories as wives, mothers, lovers, friends. Their"portraits" of themselves develop through language, whileparadoxically the images repeatedly break down, become abstract orretain their imageness as much as their portraitness. Sharon and thebirds on the way to the wedding (1987, 30 mins, B&W/Color) is ameditation on the various conditions and perceptions that create ourideas of love, romance, and marriage. Its sumptuous photography, anaestheticized surface of shadow patterns, paint, and polka dots, furtherunderscores the extent to which our reality is created from a collage ofpossible options. In Sincerely (1980, 14 mins, B&W/Color), Kirbywrites a letter to Senators protesting legislation restricting a woman'saccess to abortion. One response, signed "a senator without a wholelot of sympathy," provides a chilling refrain. --Kathy Geritz Lynn Kirby teaches filmmaking at CaliforniaCollege of Arts and Crafts, Oakland.