My abstract moving image making has provided a foundation for my practice since I first started processing and solarizing my own 16mm film in one of those LOMO Russian processing tanks in 1973. Feyers, Zoomfilm (1976) and Running (1976) rework some of those early strips of black and white film. Whenever funding dried up I always fell back on my abstract direct on film work. It was cheap. Like knitting, it gave me a space to process the dilemmas and incongruities of daily life and to escape its clutches. I also began to understand that these forces were still there, embedded implicitly in the work. Now, more than ever, I understand this as a survival response to corporate doublespeak. I would never throw anything away. New scratching, painting, taping or bleaching strategies could be added later. Intensive cluster editing of single frames became an obsession. The translated difference between what you saw over a light-box and what was projected drew me in. Like the migrant position I was allocated from childhood I survived in the space between these two territories. As well as an archive of images and movement I collect optical effects. The flash frame. The trail of afterimages resulting from flickering between positive and negative images. At their liveliest these images float above the screen. Now the digital allows me to amplify the material presence of 16m and 35mm film and a whole new world opens up before me. I cobble together found footage films from my own archive of discarded data and unfinished sentences.
-- Dirk de Bruyn
* We heartfully thank Malcolm Turner, director of MIAF, whose support helped feature this section at the festival.