TECHNES Encyclopedia Database

These projects must be seen as an ode to photochemical film stock, exploring its power in order to make it sing and resonate. But it is also a categorical refusal to meet the digital’s technological, economic and generational injunction, as David Matarasso emphasizes: “The materiality of the image is still enthralling.”^[7] Adopting an often ambivalent attitude, between critical destruction and tribute, the filmmakers working within a stained glass window aesthetic express a demand to industrial production, taking the time to (re)make the images one by one and by inserting a manual gesture into the manufacture of images in order to multiply their plastic qualities many-fold.