have the chance to catch The Lost Films that Stan Brakhage made in 1995. so in-spiring to receive these energies of his life. after he has passed away last spring. an honor to have been taught by him. even when he would sometimes leave the room when screening a film, and forget to turn off his wireless microphone on the way to the drinking fountain or the bathroom, or in an encounter with a colleague in the hallway. when I was doing my MFA back in the late 80’s and again when I was a visiting faculty in the fall of 1997, my office was next door to his 3×6-meter cubby-sized office with a sloping roof on the upstairs hallway where the photography grad students had their darkrooms. it was in that little office where many of his hand-painted films came together, on a glass-topped desk. with the pigments standing ready. how did he conceive, map, from working tediously frame-by-frame with a loupe, the projected brilliance of 24 fps? astonishing crystal clear will-to-see, and to apprehend the world as-it-is, and as we adsorb it through wide-spectrum eyes, corners of eyes, through eyelids, blurred tears, and squinted eyelashes. Light-receivers, life-receivers. and how he conjured humor to arise from chaotic abstraction, magmatic? no, more like a tremoring breeze through new aspen leaves. the coursing of wind mingled with the temporal deflections, resistances of leaf. and the leaf laughs. “it’s the same.” as Lightnin’ Hopkins says, “if you cain’t say it, then … SING boy!”
notes for The Lost Films:
1) A travelogue “nocturne” on the City of London as illuminated by “glaze” finally off the surfaces of Turner’s paintings.
2) A travelog to the north of Finland, shepherded by the midnight sun.
3) A hand-painted work, a “midsummer’s night dream,” still reflective of the previous summer in Finland.
4) A multiply pastel-toned balloon of optical fog triumphing over the barest hints of photographic representation in the lower right-hand corner.
5) A mountain meditation primarily in blue “mountains” of the mind shaped by amorphous dull yellows and faded violets.
6) A hand-painted film, some of the same colors of the previous films moving through sandbars and oceans of thoughtful recollection.
7) This is the eternally ephemeral process of attempts to remember imagery “giving-way”/ being-displaced-by the contemporaneously practical sighting of what confronts any given viewer at every shift of open eyes (or, as in the film, at every shift of camera, optical focus and montage of edit) — the skeins of the Atlantic, the particularities of Boston night Lights, and illuminated points West, ending on a garbage truck in a parking lot by the deserts of New Mexico.
8) A dark “sea chante” of absolute photography.
9) The color negative of “truth” — that is to say it is the whole truth (insofar as hand-painted film might aspire to achieve it) and a counterbalance epiphany to any such “truth” as might be put in quotes.
— Stan Brakhage
Once, I think it was in 1997, Stan and I were talking about his trip to Finland for the retrospective at a small film festival, he was telling me of a peak experience he had while in a rowboat coming from an island in a lake after a sauna. the Light. he broke down and cried from the seeing.