the reverse darkroom

Thank you for following me, I hope your journey was safe. Please rest your eyes and maybe have some water, that was a long conversation. Here are my plans for the upcoming term. 

As discussed in my critical review, the closer I get to my material, the more possibilities arise. It doesn’t fit into one project, which exactly illustrates my research, so here is an outline of the ways I would like to draw together and house the material for graduation and beyond. 

(zoom in)

I will continue working on the short film, of which you have seen several fragments, finding and experimenting with a sensory and associative way of editing. In Rada Sesic’s workshop, I wrote the following logline and worked on a visual script. I have several scenes I want to shoot in Poland, including the process of making fake amber. 

A collection of trapped moments is discovered in a house by the sea in Poland. An amber lamp, some family albums and a box that contains some photographs of a woman posing on the top of Mont Blanc. Everything is still and has its place. Or so it seems. As these objects defrost, stories leak into the frame, morphing and breeding, taking us on a journey back and forth across time to Europe’s highest peak.  

(zoom out) 

A space to both screen the film and host a ‘reverse darkroom-esque’ (if you have time and are inclined, you can find more information on my ideas about this, please visit the 'about' page) version of Giorgia and I’s collaborative performance about Mont Blanc. Previously, I wanted to make this space into a museum. Now, I am more inclined to leave it quite sparce with a few objects that feed into the film and performance. 


first sketch of space 

1 - big fake amber sculpture with giant shoe in the middle
2 - screen for film projection
3 - tiny screen with live view of Mont Blanc peak
4 - (unseen) insect soundscape

*crumbs unrelated 


I’d like to carry on testing and working with this ‘conversational’ archive I used in my critical review, which includes my attempts at ‘ordering’ and ‘understanding’ the material and the process, and hopefully some of the main ideas I am interested in. As you saw, I am experimenting with form, but I will aim for an online or printed publication. 


January: exams, IFFR, production for Poland trip (sound person + equipment + set up meetings)
February: shoot in Poland, Skype session with mentor Jason Fulford
March: edit film, Skype session with mentor Jason Fulford
April: work on performance, first cut down to show at 2nd Masterclass w/Jason Fulford (22nd-26th)
June: bring everything together, Skype session with Jason
July: AR week


€200 Travel to/in Poland
€200 Production costs
€200 Travel/food, Sicily external mentor trip
€1500 Graphic designer
€100 Darkroom rental
€500 Production costs performance 
€400 Giorgia artist fee 
€400 Sound assistance
€300 Extra external mentor budget 

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