A Woman's Touch
“These films are accumulations of evidence. The images must be read: not only what narrative connotations are given off by representational imagery as regards both language and figure-engaged activity, but also the constructive signposts of point of view, exposure, composition, color, directional pulls and the textural overlay. But in film the solo image is akin to an isolated chord; the kinetic thrust emerges with montage. That process expands, deflates, contradicts, reinforces or qualifies. It is this specific and directed placement that provides film with both its structure and its freedom.
“Film can do flips, is acrobatic. A highly-charged shot, though still potentially balanced by a multitude of suggestibles, may in turn, by replacement by a more neutral image, shift into objectivity the initial heightened response. This play with expectations, both frustrated and enhanced, constitutes a reason to look at the screen. The variables of an image, its visual qualities being punctuation, swells to a series of statements, whose provocative strains demand a measured vigilance of the viewer, when editing can either underline, comment upon or upset the fluctuating contiguities. This is not to say that the possible pleasure produced refuses rigor, but rather cerebral sleight of hand implies control.” Warren Sonbert
Shot in New York, San Francisco, Wyoming, Santa Fe, Hamburg, Berlin, Munich and Vienna.