• Splatter

Experimental film exploring the possibility of unknown life form in the arctic.  

While I was traveling for an art-science residency in the arctic, internationally acclaimed composer and saxophonist Quinsin Nachoff commissioned six cutting-edge filmmakers to create original work in response to his new recording Path of Totality . I would use part of my artistic film and result to shape an experimental short film.


Quinsin crossed my path through our mutual friend viola player Oene van Geel, and I am glad he did. His music is diverse, difficult, daring, and above all, very inspiring. To commission 6 film makers to create 6 art tracks is a great example of a an appealing approach to cross-over projects combing the worlds of art, science and music.


When Quinsin and I first talked about the design and mood for this experiment  we had similar thoughts about creating a nordic atmosphere. The mystic of the arctic, the half time between the sun and the moon, mist, water and mountains all seemed to connect with one or the other of his tracks. I would be able to combine an art-science residency to the arctic with this project, it would suit both our ambitions for creating cross-over projects.

The music of Splatter has a storyline hidden within, the quirky beginning had a sense of character that I could work with. The build up of the track, even within 2 minutes, brings about an energy that moves and disturbs. Starting with very distant sounds it’s almost like a world is waking up, we are slowly traveling towards a land that’s gaining strength and speed and turning into a chaotic whirlwind of elements. The pace of the music was my guidance in what the shape of events was going to be. I was picturing a distant foggy world divided into two horizontal sections that come clearer and closer to one another during the film, while player of animation would bring life to the edit. With that horizontal approach in mind I collected images that have just that: a horizontal split right in the middle of the screen. In the film we are witnessing the end of one world and the birth of a new.



The experimental film was distributed on-line and is available for exhibit and performance.

 “I’ve always loved experimental animation and film. The compositions on this recording are very expansive and cinematic in scope; they lend themselves well to a creative visual. I provided each filmmaker the background inspirations for their piece and gave them a lot of freedom in their approach. It’s been fascinating to see how each of them interprets the music – both the differences and similarities!”
Quinsin Nachoff