Rebecca Meyers WEDNESDAY October 17th 2007
In lions and tigers and bears, Rebecca Meyers focuses on the urban wildlife, both real and simulated, with which we share our cities. The most unlikely creatures somehow survive in a hostile environment, while animals are also invoked in artworks, corporate logos and other icons. Pets and animal icons testify to a human longing for proximity to wildlife, while the urban landscape offers its fugitive creatures artificial substitutes for the tree limbs and tunnels of the wild (Toronto Film Festival Program Notes).
In lions and tigers and bears, Rebecca Meyers focuses on the urban wildlife, both real and simulated, with which we share our cities. The most unlikely creatures somehow survive in a hostile environment, while animals are also invoked in artworks, corporate logos and other icons. Pets and animal icons testify to a human longing for proximity to wildlife, while the urban landscape offers its fugitive creatures artificial substitutes for the tree limbs and tunnels of the wild (Toronto Film Festival Program Notes).
things we want to see, 7 min. 16mm (2003-2004)
An introspective work that obliquely -measures the fragility of life against boundless forces of nature, such as Alaskan ice floes, the Aurora Borealis and magnetic storms (Mark Webber, London Film Festival).
glow in the dark (january-june), 6 min. 16mm (2002)
Radiators clang while spheres and cypridina phosphoresce. A rubber ball held up to light becomes a snowy crystal. Home science experiments and other attempts to see with the camera
in the dark night light and leaping, 22 min. 16mm (2001)
A portrait of a space that is altered by sunlight, darkness, and the weather. An investigation, motivated by a cat's vigilance, reconsiders the spaces we inhabit together and frames the cat within its surroundings. An exercise in careful looking.
how to sleep (winds) , 9 min. 16mm (2000)
An open, dormant landscape, waiting. Stasis in the form of telephone wires and the crawl of jet trails. how to sleep (winds) presents images shaken with wind and anticipation, swept into darkness and back again.
Rebecca will also be showing: Julie Murray's 1997 film IF YOU STAND WITH YOUR BACK TO THE SLOWING OF THE SPEED OF LIGHT IN WATER. It's 16mm and 18 minutes long, with sound
