Otherworldly handled post-production only.
On May 28, 2018, three American kayakers left Havana on an attempt to paddle across the Straits of Florida to the United States. After 27 hours and 12 minutes of nonstop paddling, they landed in Key West. They were not the first to make the voyage. Thousands of Cuban refugees have attempted to cross the Straits of Florida, risking and sometimes losing their lives in the process.
Juxtaposed with the stories of four Cuban refugees who have rebuilt their lives in the United States, THE CROSSING is a visceral journey across dangerous open ocean that explores the complex issue of forced human migration and asks: What is the human cost of closed borders?
Client: The Beauty Underground
Project: North American Hairstyling Awards, Las Vegas (60 second spot)
Beauty Underground is about as high fashion as it gets. The BU team let us loose on this one! They needed a "knock your socks off" sixty second visual experience to deliver to the 4,000+ guests that would be attending the IBS in Las Vegas.
The only rule: focus on the beautiful craftsmanship of hair and makeup.
Our solution: Bury the models with soil, flour, foam and syrup.
Score written and composed by Dave Wilton
SFX by Dynamite Laser Beam
This here is a little collaboration with Beet & Yarrow. Find the matching pair.
"David Lynch meets Matthew Barney in this trip through a foamy landscape of cotton balls and stop-motion animations."
-Seattle International Film Festival
Real Ethereal is an experimental/conceptual video with which meaning remains elusive; understanding it is a subjective undertaking. However, I have written the following regarding the filming process of the opening and closing sequences:
"I hit the record button and began the journey into the sea while Deborah remained on the beach with the camera. She gave me verbal directions to keep me in the frame, “turn left... go straight... turn right...” As I ventured further, the waves washed out her guiding voice. The costume was disorienting, lacking both eye slits and peripheral vision, so my course wandered. Water licked my chin.
By now I was shoulder deep in the sea, attempting to submerge myself, but the wetsuit and costume were too buoyant. This was a problem I had not anticipated. My initial plan was to emerge from the water and walk toward the camera, but because this was not possible, I had to settle with the less epic version. I bobbed around in the tides for a bit and made my way towards the beach. Deborah’s voice returned again, guiding my path. The waterlogged costume slowed my movements and became increasingly heavy as I progressed towards dry land. By now, we had gathered the attention of more than just a few casual onlookers.
The police were waiting for me. Apparently a concerned citizen thought it unusual to cover one’s own body with household materials, and in the twilight, walk into the icy shadows of the sea. The blustery weather brought no consolation, for it had snowed the previous day. What I intended as poetry, someone else perceived to be a tragic oneway journey into the ocean. I struggled to remove the saturated costume and transfer it into an oversized trash bag.
With the soggy whiteness encapsulated, we made our way to the parking lot, where the idling police cars waited patiently. I needed only to mention “RISD” and “school project” for the officers to fully realize the innocence of the situation. They said I had been described as a “mentally disturbed person attempting suicide” and suggested that next time I should disclose my intentions beforehand to avoid confusion. The thought of calling the police before making art had never occurred to me. After giving them my regrets for the miscommunication, we moved on.
This experience enriched the content of the project, for it revealed the presence of death in a scene that I perceived as life, thus painting truthfully the predicament of existence. The opening scene of Real Ethereal represents creation and the emergence of birth. It is the cleansing waters of baptism that purify the soul, the reclamation of life from the frigid waters of death, and the introduction of a profound mystery that continually nudges us along the winding path we follow. In regards to the final scene, it is the completion of reality and the satiated cycle of life. In order for something to live, something needs to die. Death gives life."
Client: Josh Garrels
Project: Revelator music video from the album Love, War & The Sea In Between
"Portland, Oregon-based folk artist Josh Garrels crafts songs exploring themes of compassion, hope, longing, and liberation. The founder of independent label Small Voice Records, Garrels has released six albums, including the critically acclaimed, fan-financed 2011 release Love & War & the Sea In Between."
Over 40 cans of shaving cream were used throughout the production. Our friend Albe Larson was willing to be transformed into Shaving Cream Man for the "ten-thousand kings and every creature" scene. Thank you Albe.
Looping video art generated from suspended sculptural forms. See more work at www.evanmann.com
Engaging and withdrawing in an endless loop, Relationship represents the unceasing struggle between two entities to move forward despite the inevitable strains that ensue. Healthy relationships are those of perpetual engagement, despite the distance, be it physical, emotional or spiritual, that inevitably creeps in.
1 : purification or purgation of the emotions (as pity and fear) primarily through art
2 : a purification or purgation that brings about spiritual renewal or release from tension
3 : elimination of a complex by bringing it to consciousness and affording it expression
This here is a collaboration with Harper Point Photography. There is really no reason for this except to play with light paintings and cinemagraphs.
The audio design for this stop-motion animation video was composed entirely from sounds made from the body. In other words, the human figure acted as an instrument to create the soundscape for this otherworldly environment.