Film Poetry by Rose Lowder and Charlotte Pryce

Programme

• Turbulence (Rose Lowder, 2015, 16 mm, 7')

  Turbulence was filmed in the medieval town of Alet les Bains. One can see in the river Aude a small waterfall, the images of which as well as the title of the film refer to the present state of the world today.

• Prima materia (Charlotte Pryce, 2015, 16 mm, 3')

  Delicate threads of energy spiral and transform into mysterious microscopic cells of golden dust: these are the luminous particles of the alchemist’s dream. Prima materia is inspired by the haunting wonderment of Lucretius’ De Rerum Natura. It is an homage to the first, tentative photographic records that revealed the extraordinary nature of phenomena lurking just beyond the edge of human vision.

• A Study in Natural Magic (Charlotte Pryce, 2013, 16 mm, 3')

  Witness an alchemist’s spell: the transmutation of light into substance: a glimpse of gold.

• Looking Glass Insects (Charlotte Pryce, 2012, 16 mm, 4')

  Looking Glass Insects takes its title from chapter three of Through the Looking Glass and its classic original illustrations by John Tenniel. Making use of magnifying glasses as an optical pun, pointing to the instruments used by both entomologists and filmmakers alike.

• Poppies and Sailboats (Rose Lowder, 2001, 16 mm, 2')

  Little is necessary for everything to appear differently. The date, the hour, the weather, the space's layout, one's glance or presence of mind... can make everything change. The boats sail out of the Vieux port in Marseille to be amongst the poppy fields.

• Bouquets 1-10 (Rose Lowder, 1994-1995, 16 mm, 11')

  A film bunch of pictures picked every time in the same site, at various times. These bunches of pictures chosen and weaved in alternated order also include some accidental photogrammes which, such of the herbs 'poor', can be harmful or useful, depending on circumstances.

• Curious Light (Charlotte Pryce, 2011, 16 mm, 4')

  A manuscript illuminated: illustrations retreat into the fiber of the page; a fleeting light dissolves into the emulsion of the film: an elusive story is revisited.

• Parable of the Tulip Painter and the Fly (Charlotte Pryce, 2008, 16 mm, 4')

  Having grown a beautiful tulip, Pryce fell deeply under its spell – an affliction shared by an artist from another time and place. Yet the dilemma they faced was shared: to fall for such luxurious and temporary beauty raised a fear of the transience of life. A philosophical search drenched in luminous colors and sparkling light.

• Discoveries on the Forest Floor (Charlotte Pryce, 2006, 16 mm, 4')

  The title is taken from an obscure genre of 17th century painting: Forest Floor Paintings (or Sottobosco), which heralded a first attempt to place plant specimens into a “real” environment as opposed to a vase. The film takes the form of three plant studies, in which the plants, images of the plants, and their envisioned environments are intertwined.