Philip Solomon

I am back….and full of summer freshness. I decided this week to be the EXPERIMENTAL week and I want to open it with some info about one of the most influential individuals in my life >>>
I can hardly describe the experience of seeing Solomon’s films, but if I tried it would sound something like this:
Imagine that you are looking at one of your favorite pieces of art, the one that gets profoundly under your skin and speaks to your soul in an exquisite and spiritual way and only you can understand and feel the deep vibe it sends you. Now imagine the intensity of 24 of your favorite pieces of art projected in front of your eyes for a second. Each of them building the ultimate structure that carries the most powerful meaning and emotion straight into your heart and mind…..Kind of close, but not really….And I believe Solomon’s art is one of those things in life, like love, or grief, or looking into your child’s eyes, that cannot be explained…they just need to be experienced. Here are some of the stills from Philip’s films:

If you want to learn more about his films click HERE.

Also a part of an INTERVIEW, that I specifically enjoyed:

"Then I really started out on my own when I took a Bolex out into the night and found this button that no one had shown me how to use. The T/I time exposure button. I started to do these time exposures quite accidentally, not quite knowing what I was doing. I got back this roll of film shot at night, with about a second of footage that looked like it was the middle of the afternoon. That just floored me. It opened up new possibilities for experimentation and then expression. That’s the way my work often evolves. I’ll bump into a technique and then find a way to use the technique expressively, essentially.
One of the problems that I am seeing now with many filmmakers is a kind of fetishization of technique for technique’s sake. Like using hand processing just to give their films an avant-aura, an anti-digital, funky, handmade, lo-fi patina. Easy-baked “artful” meaningless facades. They must have by now a broken shutter program for video (laughs). I’ve heard they have 35mm cameras that have switches to give it that broken shutter look, where all highlights vertically streak."

Last but not least, here is a project I did after the first time I saw Solomon’s films. It is a very simple handpainted film {my first experimental assignment that was givent to me by David Gatten, another great filmmaker that you will hear about later}. It's nothing special but it's made with great love and gratitude.

"Exquisitely inspired"

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