"Sound Screening" explores expansion of visual and auditory sensation. This time we have Richard Tuohy's first screening and performance in Japan. Richard is Australian film maestro who makes abstract experimental film with his enormous knowledge and advanced technique. Moreover, a solitary sound artist, Keitetsu Murai will show a sound from mutual interference of 4 oscillators which react to candle flame. And Shinkan Tamaki will show "Passages" which captured shapes of winds.
Shinkan Tamaki (Moving image)
Keitetsu Murai (Sound Performance)
Richard Tuohy (Experimental film)
Born in 1982, Japan. Artist in search of never-before-seen images and new perceptual experience. He started making moving image with 16mm film in 2006. Main theme is to lead the audience's perception to change naturally and sometimes drastically bycoming and going across borders between image and non-image, sound and image with extracting film's materiality. The works have been screened at many film festivals, including International Film Festival Rotterdam, Media city film festival and S8 Mostra de Cinema Periferico. Recently, He performs to transform optical phenomenon into moving image.
Sound performer / Artist. Performance with electronics by non control operating system.
- Dot Matrix (Richard Touhy, 2013, 16 minutes, dual projection)
Dot Matrix is dual 16mm film involving two almost completely overlapping projected images. The ‘dots’ were produced by photogramming shets of dotty paper (used for manga illustrations) directly onto raw 16mm film stock. These dots were then contacted printed with ‘flicker’ (alternating black frames) creating strobing 'interuptions' to the dots. The drama of the film emerges in the overlap of the two projected images of dots. The product they make is greater than the parts. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector.
- On the Invention of the Wheel (Richard Touhy, 2015, 13 minutes)
A meditation on man in the mechanical age. On man bonded with machine. On the wheel upon which man turns and is turned.
- Ginza Strip (Richard Touhy, 2014, 9 minutes)
The Ginza of fable and memory. This is the first film I have finished using the 'chromaflex' technique that we developed. This is a very much hands on colour developing procedure that allows selected areas of the film to be colour positive, colour negative, or black and white.
Richard Tuohy is one of the most active experimental film artists currently working on celluloid in Australia. His film ‘Iron-Wood’ won first prize (ex aequo) at ‘Abstracta 2009’ experimental film festival in Rome. He runs Nanolab in Australia – the specialist small gauge film processing laboratory. He actively encourages other artists to work with cine film through his Artist Film Workshop initiative (see artistfilmworkshop.org). He is also a founding director of the Australian International Experimental Film Festival.
In the late 1980s and early 1990s Richard was an active member of the Melbourne Super 8 Film Group. During this time, he was interested in narrative film making and made three long works on super 8 and 16mm. He then detoured into academic life for 7 years studying philosophy, first at La Trobe (where he received the David Hume honours prize for philosophy in 1995), then with an APA scholarship to undertake a PhD at the Australian National University (with a period in Germany).
After philosophy, Richard moved to Daylesford, built a house, and studied music and botany (privately) for some years. In 2005 he returned to filmmaking, but this time in the experimental/abstract cinema direction. In 2006 he and his partner started 'nanolab' as an artist run film laboratory offering super 8 processing. In 2009 he began submitting his films in international film festivals. Richard also helps to convene the Artist Film Workshop - a screening and educational forum in Melbourne for encouraging the use of film in art practice. He has run numerous AFW workshops both at nanolab and at AFW in Melbourne.
Artistic Statement by Richard Tuohy
My early films were formalistic narratives, dedicated as I was then to making homages to Ozu. That's long ago. My work now is abstract and experimental, though perhaps the formalistic concern remains. My super 8 films from 2005 to 2008 represent an explosion of filmic creativity I had not really been expecting. Finishing films on super 8 can be a very direct and ‘in camera’ way of working, producing results and new stimuli very quickly. In many ways, this fruitful period has provided the foundation of my current art practice. Since 2009, when I acquired 16mm printing facilities, my work has shifted slightly to become more focussed on the possibilities of the 16mm contact printer and the laboratory.
Someone once described my recent (post ’05) films as 'films about cameras' (that was in ’09 - now they might say, ‘films about film equipment’). I found that astute, but a trifle unfair. Yes, I have dwelt in a lot of camera techniques - classic and novel: lots of pixilation (single frame), double and multiple exposures, matts and split frames, effect filters, colour filters, distorting optics, found optics, long exposure blurring, re-photography, telephoto shake, various camera mounts, focus shifts, etc., and often several at once. And I have often create such abstraction effects in the field and thus 'in-camera'. What I look for, however, is some kind of nexus between what my camera (or other equipment) can do and my subject. I strive to find some kind of natural link between the subject matter and the possibilities of the analogue film technology I use, such that the film works like a magnifier to point-out and dwell-in the properties of the particular objects of my fascination.
Mostly my films involve natural features or environments. These films have been described rather nicely as ‘earth animations’ and ‘landscape dances’. The connotations of both these descriptions appeal to me. I like to see my approach as a kind of cine-cubism: attending to and abstracting certain features from my subject through making temporal and graphic associations etc., without resorting to a prosaic depiction. I like to use formal structures to cut out (or rather, ‘abstract’ out) what I see as the 'fleshiness' of the particular. While often originating with images from nature, my films are at base about form, structure, time and pattern, rather than about content in any direct sense. Ultimately, they are more about ‘looking’ than ‘thinking’.