Cindy was asleep under a maple tree/ Rolled over and said to me/ I dreamt of Air Cries/ I turned over, we were lying on the the/ dry cracked mud of a river bed/ Empty Water/ Puppies, Air Cries Only/ They don't make a sound/ My eyes on fire with nothing/ to quell them/ A piece of steel in the heart/ Misery loves company
DVD 1: Misery Loves Company 1993 / 16mm / colour / sound / 60'
DVD 2: The Red Thread 1993 / 16mm / colour / sound / 60'
'I have been working in film and photography for over twenty-five years. In that time I have tried through my journey to perfect my alchemy / my art / my life. It is in the spirit of an experience and not of experiment that my work has been viewed these past 25 years, seized in moments of visual detachment during periods of emotional contact.
These images are oxidized residues, fixed by light and chemical elements, of living organisms. No plastic expression can ever be more than a residue of the experience. Yet, that residue is recognition of an image that has somehow survived the experience, recalling the event, like the undisturbed ashes of an object consumed by flames. When I began working with film and photography in a materially oriented way, I thought that by working with the surface altering and affecting it I could leave my identity, my personality.
My vision was meshed with the films physical makeup creating an organic surface. Also I felt it was a way to create an entirely new visual language, to be able to convey my innermost feelings and emotions in a very personal way.' - Carl E.Brown
'In my new film, Air Cries, Empty Water I have dealt with the interaction between the environment and the camera/eye. I have converted the base metal silver, which is the construction of film and deconstruct to the rainbow of light which is the resultant conversion to the precious metal. I would like to once again refer to alchemy as a unifying factor between the realization of the idea and completion of the emotion/thought.' - Carl E. Brown
'On the path that Man Ray pioneered in the Twenties, Brown makes films from what heats and colds, the chemicals and the light-gouges together create in the cinemas surface. Brown treats them like the play of sensations on the skin of his art.' - Bart Testa
This title is available through:
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