alexander mcqueen

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"mussels on the carpet"

cat.: 32, ls# 5/fa.1
london/2015


set to alexander mcqueen’s “voss show (spring/summer)".
london/2001

“alexander mcqueen: savage beauty”. v&a museum. promotional purposes.
london/march-august 2015



The centre piece tableau that dominated the room was an enormous glass box. But because the room outside the box was lit and the inside of the box was unlit, the glass walls appeared as large mirrors, so that the seated audience saw only their own reflection. Finally, after the guests were forced to endure an hour-long wait staring at their own reflections whilst listening to the unnerving pulse of a heartbeat, and right as the show began, lights came on inside the enormous glass case and revealed the interior, constructed to resemble a padded cell in a psychiatric hospital, and the models trapped in the cube, who were unable to see the audience.

The model chosen by McQueen to be the centre of the show was the British writer Michelle Olley. McQueen said that the tableau was based on the Joel Peter Witkin image "Sanitorium".

"These beautiful models were walking around in the room, and then suddenly this woman who wouldn’t be considered beautiful was revealed. It was about trying to trap something that wasn’t conventionally beautiful to show that beauty comes from within."

alexander mcqueen

a sudden gust of wind

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A Sudden Gust of Wind

"inflation adjusted (after wall) 2”

cat.: 33, ls#4/ph.1.2
london/2016



set to jeff wall’s “a sudden gust of wind (after hokusai)”.
1993
london/tate collection



based on a woodcut, "Travellers Caught in a Sudden breeze at Ejiri" (c.1832) by Katsushika Hokusai (1760-1849). Wall photographed actors in a landscape in Vancouver, at times when similar weather conditions prevailed over a period of five months. He then collaged elements of the photograph digitally in order to achieve the desired composition: a tableau which appears staged in the manner of a classical painting.

"It was not photography, it was not cinema, it was not painting, it was not propaganda, but it has strong associations with them all"

jeff wall

sonos

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"sonos project 2"

cat.: 31, ls#2/co.3.2
london/2015



commissioned by sonos.
for the “sonos your home” campaign. promotional purposes.
los angeles/2015


tourbillon

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"unlimited warranty"

cat.: 31, ls#22/Fi.10
london/2016



commissioned for the "tourbillon" official trailer at the sci-fi-film london festival.
london/2016



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catcher in the rye

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Catcher in the Rye

"sunny on a suspended horse”

cat.: 32, ls#3/Bo.1
london/2016



set to j. d. salinger's “catcher in the rye”.
new york/1951



"I went over and sat down on this bench, and she went and got on the carrousel. She walked all around it. I mean she walked once all the way around it. Then she sat down on this big, brown, beat-up-looking old horse. Then the carrousel started, and I watched her go around and around. There were only about five or six other kids on the ride, and the song the carrousel was playing was "Sunny on a suspended horse" It was playing it very jazzy and funny. All the kids kept trying to grab for the gold ring, and so was old Phoebe, and I was sort of afraid she'd fall off the goddam horse, but I didn't say anything or do anything. The thing with kids is, if they want to grab the gold ring, you have to let them do it, and not say anything. If they fall off they fall off, but it's bad if you say anything to them."

page 213/214

jaguar

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"horses racing in a pocket"

cat.: 19, ms#6/Co.1
madrid/2014



""how alive are you?" campaign. jaguar. promotional purposes.
los angeles/2015


fantasia

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"if you feel the heat around the corner"

cat.: 29, ls#1/Fi.1
london/2015



commissioned by monihaus.
for the "art translation + interpreters" exhibition.
in collaboration with monihaus.

los angeles/2015


maxwell coffee

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"hear the sound"

cat.: 30, ls#1/co.2
london/2016



esquire

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"inside a drawer"

cat.: 3, las#3/Co.4
los angeles/2011



commissioned by esquire.
for the "a woman we love" excerpt.
in collaboration with monihaus.

london/2011


hard-boiled wonderland and the end of the world

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Catcher in the Rye

"a premonition”

cat.: 14, ms#5/Bo.1
madrid/2013



set to haruki murakami's “hard-boiled wonderland and the end of the world”.
japan/1985



note:
"a premonition" was conceived as accompaniment to the 40th and last chapter of the book ("Birds"), and as such it is meant to be listened as a whole. The following are just selected excerpts.

"I thought about rain myself. A mist so fine, it almost wasn't rain. Falling, ever fair, ever equal, it gradually covered my consciousness in a filmy, colorless curtain. Sleep had come. Now I could reclaim all I'd lost. What's lost never perishes. I closed my eyes and gave myself over to sleep.
Bob Dylan was singing "A premonition", over and over. "

page 396


"I have been thinking it over…" I dredge up the words. "I'm not going."

The shadow thrusts both hands in his pockets.

"What are you talking about? What was this promise that we made, that we'd escape from here? Why did I have you carry me here all this way? I knew it, it's the woman."

"Of course, she is part of it," I say. "Part, though not all. I have discovered something that involves me here more than I ever could have thought. I must stay."
My shadow sighs, then looks again heavenward.

"You found her mind, did you? And now you want to live in the Woods with her. You want to drive me away, is that it?"
"No, that is not it at all, not all of it," I say. "I have discovered the reason the Town exists." "

page 398

days of competition

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Catcher in the Rye

"roxanne by the pool”

cat.: 28, ms#12/Bo.4
madrid/2014



set to gustavo izquierdo's and gene ivery's “days of competition” (excerpt).
TBD



"days of competition" is currently under development. While researching for this project, Rineke Dijkstra's "beach portraits" and more especifically her "Kolobrzeg, Poland, July 26 1992" served as visual inspiration. "roxanne by the pool" is inspired by them and by the following scene.

INT. SWIMMING POOL - DAY
UPSIDE DOWN: Glass windows and gloomy skies. THE IMAGE WOBBLES IN ULTRA-SLOW-MOTION, turning into a series of waves; it’s a reflection on water. The surface settles again. Then more ripples come in.
The surface bulges from below. It grows into a mountain shape, the water covering it like gelatinous film.
Then the water breaks. The mountain is actually a nose, then lips, a chin, a girl’s neck. What was tranquil water is now a miniature storm around this giant: ROXANNE DEMARS (16).

page 1

barbican

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"lots to see out there"

cat.: 5, las#4/Co.5
los angeles/2011



commissioned by the barbican centre.
for the "portrait" series, "theatre" excerpt.


london/2014


less than zero

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Catcher in the Rye

"the space between me and the next closest thing”

cat.: 50, ls#10/Bo.3
london/2015



set to bret easton ellis' “less than zero”.
los angeles/1985



Ellis was viewed as the voice of a new generation and critics dubbed the book as "the first MTV novel". Less Than Zero is divided into brief scenes much the same way MTV is fragmented into short videos. Additionally, the characters of the novel refer constantly to songs and artists. Songs provide additional meaning to the novel, like the Elvis Costello song, which is the novel's title.

"There was a song I heard when I was in Los Angeles by a local group. The song was called "The space between me and the next closest thing" and the words and images were so harsh and bitter that the song would reverberate in my mind for days. The images, I later found out, were personal and no one I knew shared them. The images I had were of people being driven mad by living in the city. Images of parents who were so hungry and unfulfilled that they ate their own children. Images of people, teenagers my own age, looking up from the asphalt and being blinded by the sun. These images stayed with me even after I left the city. Images so violent and malicious that they seemed to be my only point of reference for a long time afterwards. After I left."

page 195

pillars of creation

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Pillars of creation

"radiograph of the milky way”

cat.: 26, ms#5/ph.2
madrid/2014



set to “the pillars of creation”, taken by the Hubble Space Telescope.
somewhere in the middle of space/1995



In naming Pillars of Creation, NASA was tapping a rich symbolic tradition with centuries of meaning. As much as we associate pillars with the classical temples of Greece and Rome, the concept of the pillars of creation - the very foundations that hold up the world and all that is in it - reverberates significantly in the Christian tradition:

"And now wonder, ye angels, the Infinite has become an infant; he, upon whose shoulders the universe doth hang, hangs at his mother's breast. he who created all things, and bears up the pillars of creation."

Charles Haddon Spurgeon, on the birth of christ, 1857.


still water

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Still Water

"the buzz of the world”

cat.: 33, ls#4/ph.1.2
london/2016



set to roni horn’s “[no title]”.
1999
london/tate collection



Still Water (The River Thames, for Example) is a series of fifteen large photo-lithographs of water, printed on white paper. Close inspection of the images reveals that tiny numbers in typeface are dotted like specks of flotsam over the water’s surface. These numbers refer to footnotes printed along the lower edge of each image’s white border. The footnotes present a series of musings and quotations on the significance of the river and the moods and narratives it evokes.


american airlines

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"telephone shuffle"

cat.: 15, las#11/Co.1
los angeles/2011