This is an archive of the film segments from the group exhibition called Sacred Sounds: A compassionate Listening Guide that was presented at the Harold B. Lee Library on the campus of Brigham Young University in 2017. All six segments are compiled in the following video as they were presented in the gallery, but links to individual segments are below.
Play all files simultaneously for best experience. The source photos accompany the audio so feel free to browse while you listen.
This audio piece was first installed in march 2020 at Ryerson University in Toronto, Ontario. The source material is taken from a lecture by Howard Fradkin at USC in the spring of 1977. This project is an attempt at both utilizing archival materials as well as subverting the institutionalized nature of the material in order to draw attention to the unique experiences of those whose lives are not recorded in such sites.
Original Source: https://www.digitaltransgenderarchive.net/files/5x21tf448
First ever roll of Kodak film. Apparently this Ultramax is made for portraits, but the colors are nice and warm, and there’s more grain than in past Fuji rolls, which is an aesthetic choice I’m not sure I’m in to.
locations: Provo, UT | San Francisco, CA |
These were the ones I thought came out well and as intended when I shot them. A quick trip, and fruitful when it came to images, I think.
Second roll of c200, love the colors and subtle grain.
I’ve realized that I’m reserving shooting on film for what I perceive as magical and exciting ventures.
locations: Promontory Point, UT | Cedar City, UT | Salt Lake City, UT
really proud of the last one; first-time doing a long exposure. This venture into analog photography has helped me think about composition and technical affect more, which I hope will bleed into other avenues of my work.
first-ever roll of 35mm film. shot on Canon AE-1 50mm f1.8.
locations: St. George, UT | Provo Canyon, UT
Recognizing that this film stock renders greens cooler than life, but I like it.
The Left Bank Group (Rive Gauche) were- in my own opinion- the most fascinating and important collective of artists in the twentieth century and beyond. Agnes Varda, Chris Marker, and Alain Resnais comprise the core of this illusionary group, and in their spirit of commentary and obsession with the actuality of life, I have named my ventures after their legacy. In no way am I implying that what I’m doing here should at all be compared to their work; I look up to them and wish to keep their name and recollections burning.