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Posts Tagged ‘Unconventional Media’

I am excited and honored to announce that our documentary, Houston We Have A Problem, which aired as part of the REEL IMPACT series on PLANET GREEN, has been nominated for a 2011 News and Documentary EMMY Award. We’re headed to New York City for the event on September 26th.

To celebrate our nomination and to give a new audience an opportunity to see the film, Prescreen and Unconventional Media have joined together to present the complete feature documentary online starting September 16 at the website for 60 days only. The buzz on Prescreen is great including a write up in the Wall Street Journal and we are honored to be part of their initial launch.  Check it out if you are considering online distribution.

For the September 16 premiere, the film will be available for a discounted price of only $4, so please help us spread the word and use this opportunity to catch the film if you haven’t seen it because the next day it doubles in price.

The documentary film is an inside look into the culture of oil and oil barons, exploring the history of our dependency that has led to the energy crisis.  Press includes a LINK TV interview with Director/Producer Nicole Torre, plus excellent reviews from the HUFFINGTON POST and  CURRENT TV . My favorite still is the British Daily Motion discussing the film.

For a complete listing of film festivals and reviews, visit the film site.

While in New York City, I will also be attending as Head of Production for Lady of the Canyon, the Independent Feature Conference as well as the New York Television Festival for the premiere at the Tribeca Cinema of a 22 minute taste of our film, Finding Hope, starring Molly Quinn, Chris Mulkey, James Morrison, Richard Riehle, Christine Elise, Kristen Dalton, Andy Mackenzie, Ray Abruzzo, Darby Stanchfield, Jon Lindstrom and a whole bunch more incredible actors. Written and directed by Diane Namm, I produced. Facebook Fan site

The film is the story of 16-year old Esmee Johnson (Molly Quinn), a child bride, forced to marry at 13, who runs away from the isolated polygamist community in which she grew up.  Esmee has to navigate through a world she never knew existed, and plunges into the seedy underbelly of New York City.  Pursued by her husband, Rev. Ezra Dobbins (Chris Mulkey), sought by the FBI as a government witness, and fearful of the human traffickers with whom she originally seeks refuge, Esmee runs because it’s the only way she knows to stay alive.  She becomes a teen fugitive in her quest for FINDING HOPE.  We’ve completed the first half of the film, but now seek completion funding. The screenings are FREE, but you have to register online.

Molly Quinn discusses her work in both the New York Daily News and Wetpaint .

This has been a long creative journey for both writer/director Diane Namm and myself which she acknowledges in this short video, “Why Finding Hope

The story started with Namm’s short award winning film, The Sacrifice, starring a then unknown Molly Quinn which can be watched online at the website. There is also a behind the scenes with Diane and myself on YouTube.

If you have any interest or questions regarding these projects or the slate of projects in development, please contact me. I’d love to hook up while in New York.  Thank you.

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I am honored to be the featured filmmaker and to present my short film TRAVELIN TRAINS, this Friday, 8pm, June 4, 2010 as part of the RAW: Natural Born Artists event at the great Hollywood screening venue, CINESPACE.  RAW Artists is a multi-faceted arts organization showcasing handpicked artistic talents in the avenues of film, fashion, music, art, DJs, models, photography and performing arts. Each month there is a party event promoting the artists and their work.  It’s an invite only, cocktail affair.  If you want, you can order your tickets by following this link HERE.

They posted an interview with me on their site, but I wanted to take this opportunity to expand on some of those comments and offer direct links below.

Q- Tell us about yourself.

I’m a Filmmaker that’s been based in Los Angeles since 1994. Before that I lived and worked in Atlanta for 10 years. I was born in New England. I went to Emerson College.

Q- How did you first get started in film?
I started making Super 8 films when I was 10 years old. Lots of three minute in camera editing. I loved going to movies and would emulate the stories with my friends that we saw at the theater. Recently, I’ve reconnected with some of them on Facebook and it’s been fun to share these films from our youth. When I was in college I started shooting in 16mm and video. Haven’t stopped since.

Q- Tell us about TRAVELIN’ TRAINS

TRAVELIN’ TRAINS is a short 16mm black and white film I made a few years back (well, actually more then a few) about a young man in search of his father in depression-era Georgia and the blues music that both joins and separates them.  We shot it in Atlanta, grant supported. Most of the script was written in a local Atlanta blues club, “Blind Willies.”  I’m excited that people are going to get to see the film on a bigger screen, because these days it is mostly watched on DVD. I think it is the best example of my work as a filmmaker because unlike other projects I’ve done that have producers, actors, clients involved, all the decisions, both good and bad, were my own. I take full responsibility.

Here’s a youtube link to the Trailer for TRAVELIN’ TRAINS

And here’s a link to “Freight Train Blues” scene from the film.

Q- Any other films you’ve produced?
I now work professionally as a producer and director after more than twenty years as an Assistant Director for film and television. Not to say I wouldn’t AD again, if the right project financially came along. I still love to AD commercials, but you do a couple of long term projects and you fall out of the loop quickly.

I recently directed a five-camera DVD live concert of David Arkenstone and his new band, Mandala. A couple of years ago, I produced the live action segments to the EA video game, “Need for Speed: Undercover.”  Directed by Joseph Hodges and photographed by DP Jeff Seckendorf, you can see some clips on my company website, Unconventional Media.

TALES FROM THE CATHOLIC CHURCH OF ELVIS continues its award winning film festival run recently winning Best Microbudget Feature Film at The Cannes Independent Film Festival in May. I produced this “shocking” true tale of a Catholic school girl in Las Vegas! Part “Canterbury Tales” meets “PeeWee’s Playhouse,” writer, co-director and lead actress Mercy Malick narrates, as a communal theater experience leeps off the stage and onto the streets of the City of Sin.

The acclaimed documentary on the USA domestic energy crisis that I produced with director Nicole Torre, HOUSTON WE HAVE A PROBLEM has also been playing the film festivals, including this week at The Barcelona International Environmental Film Festival and opening at the Downtown Independent in July. I also just returned from a great trip to Western Ireland after producing for writer/producer Diane Namm, a documentary-comedy hybrid,  WE’LL ALWAYS HAVE DINGLE.

Q- From where do you draw inspiration for your work?

I’m drawn to music projects. Music is a huge inspiration. I can’t play so maybe that’s why I love music so much, some of my best ideas happen when I’m at concerts. I also like travel, history and true stories. For some reason, I have never been interested in love stories.

Q- From start to finish, explain your process; what does a typical film-making day look like for you?
If I’m not working for someone else or shooting a project, then the ideal day starts with emails and reading web updates on Twitter. Lots of good leads and information so I have to watch out that I don’t get sucked in and spoil the whole day riding the internet highway. So, next thing I do is take a walk for an hour, listen to music, to clear my head for some writing. It can be writing a screenplay or writing a one-sheet pitch. Sometimes instead of writing, I’m editing a project. Sometimes I’m editing stuff I shot years ago. I’m convinced that something that you put aside at one point is the focus of your interest another time. Your old films are your assets. I’ve got lots of plans for my old footage.

In the evening, I like to have a glass of wine and read the newspaper. If the news doesn’t get me too angry, I check emails again, but sometimes I get lost on the internet trying to get more information. I don’t trust just one news source anymore. I’ve got to know the WHOLE story. At night, I either catch some live music or watch a movie or show on television. I’ve got a big pile of books that I want to read by my bed, but rarely get there early enough to get in some good quality reading. If I do, then I consider that to be an exceptional day.

Q- All time favorite film?
MODERN TIMES – Charlie Chaplin

Q- Are there any filmmakers–past or present–who strongly inform and influence your work?
There are many filmmakers that have influenced my work, but I’m most attracted to the filmmakers that try different styles, take some risks with different genres, sometimes successfully, other times not as much. I think a filmmaker is limiting themselves as an artist if they keep doing the same style over and over again. Stanley Kubrick, John Huston are good examples of directors that did different kinds of films. I think Clint Eastwood is proving to be a pretty diverse filmmaker.

Q- Are there any specific reoccurring themes or subjects that you explore and deal with most in your work?
Not really. As stated above I like diversity.

Q- Any previous films/collaborations that you are most proud of?
In 1999/2000, I co-produced with director/producer David Zeiger, the 13 part documentary series for PBS,SENIOR YEAR. We are about to release it on DVD and it’s amazing how after 10 years so many of these issues are still the issues of High School kids. It feels very contemporary. I wish more people had seen it and I hope with the DVD release they will. It was a pretty amazing series. We introduced a lot of cinema verite techniques, like diary cams, time lapse, that you see on most reality series now.

David is also talking about releasing on DVD the documentary we both produced and directed in 1995, DISPLACED IN THE NEW SOUTH.  The film explores the cultural collision between Asian and Hispanic immigrants and the suburban communities near Atlanta where they settled. It was the inspiration for the Indigo Girls song, “Shame on You.” You can see clips from our film in the music video. The interesting thing is the documentary covered issues still being debated in Arizona and the rest of the country.

That’s what I mean when I talk about filmmakers keeping their assets, their films. You never know when an interest will come again, look at TRAVELIN’ TRAINS.

Q- Why showcase with RAW?
Any opportunity to show some of your work on a big screen to a new audience is exciting. I’m honored to be a part of a show at a great venue with a group of artists I didn’t know before.

Q- Any current rising stars within the genre that you would recommend we look out for?
So many of the projects I’ve been involved with as a Producer lately have had limited funds. I wouldn’t make the commitment to help the Directors if I didn’t believe they were rising stars. I’m honored to have been able to help facilitate the directing visions of Mercy Malick, Diane Namm, David Zeiger, Nicole Torre, Stefan Rhys, Joseph Hodges, BrandU

But I should add, I still consider myself a rising star. I’d still like to direct a feature film. I’ve been trying to find financing for my narrative film, PRESS>PLAY and a couple of times we’ve almost had the money in place. In 2006, I was supposed to direct another feature. We had a cast and location and everything, but at the last minute, the money went dry. I’ve been developing a documentary film on Arborglyphs since 1992 with visual artist/musician Sandy Corley, entitled WITNESS TREES. Now that 3D programming for television is becoming a reality, there is renewed interest. So you never know where it’s going to come from. Just keep working on the projects that inspire you. I guess that’s the “artist” part of me. Thanks for having me.

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I’ve just returned from a three week trip to the west coast of Ireland, Kerry County to be exact. Beautiful country. The weather was erratic, as I’m told it is at this time of year, including rain, snow, sun and heavy winds all changing within the hour. I was there to Line Produce a feature doc-dramedy entitled, “We’ll Always Have Dingle,”about filmmaking and film festivals in Dingle, Ireland, wrapped around recreated classic Hollywood films. Become a Dingle Doc Facebook Fan.

The project was produced and directed by Geoff Wonfor (“Beatles Anthology“) and produced by my good friend Diane Namm (“The Sacrifice” “Telemafia“) and Debbie Vandermeulen of Fusion Entertainment. The Irish crew was top notch, including DP Eugene O’Connor, AC Conor Kelly and Trevor Cunningham handling sound duties. The real surprise was the amazing assistance from a group of ten students from the Irish training program, FAS. All were enthusiastic and creative. We couldn’t have done the project without them.

For me, the highlight of the shoot was the day spent at Cuminole Beach on the Dingle Peninsula. Until recently, the peninsula was remote from modern influences and therefore, the language and traditions of the area have survived intact to a greater degree than in most of Ireland. This is evident by the local Irish news report on the production. (See it here, about nine minutes into the broadcast.) We were recreating a scene from David Lean’s 1970 film “Ryan’s Daughter” (which was originally filmed in the area). We couldn’t have asked for better weather and visibility. From the location you can see the Blasket Islands, including one that looks exactly like a giant man sleeping in the ocean. It really wasn’t difficult to understand how the Celtic myths and legends began in this part of Ireland.

Dingle is a gorgeous, small fish and farming village, rich with Celtic history and known for its pubs and friendly people. I met a bunch of American ex-pats and local artists, some to surely be life long friends. Unfortunately, because of the workload, I didn’t get to see much at the actual Dingle Film Festival, but was very impressed by the crowds of avid film lovers. It reminded me of the early days of the Sundance Film Festival.

I did get the opportunity to introduce our documentary film, “Houston We Have A Problem,” which played at the film festival. After the screening there were many discussions on the film and American energy policies at the pub. Amazing, how European audiences seem to get the film and understand the history of U.S domestic energy better then most Americans. I also sat on a panel for the RED camera. This seems to be the camera of choice for independent features in Ireland. “We’ll Always Have Dingle” was shot on the RED. I showed some RED clips that I produced through my company Unconventional Media for the EA video game, “Need for Speed:Undercover.”

After the exhausting eleven days of production, I traveled inland to Trelle, the industrial center of Kerry County. I presented a two day workshop on Line Producing/UPM and AD work for the FAS students. The students seemed real interested in the process of shooting film and television in the United States. Many comparisons were made to production in Ireland, but really, other then budgets, the differences are few. I passed around information about our OneOnOne Film Training program at the class conclusion.

My last night was spent in Cork, Ireland, a city on the southwest coast. The city reminded me of a small San Francisco, but with lots more history. I visited the birthplace of the amazing guitarist Rory Gallagher and an exhibit on Medieval life in that part of the country. At the end of the night, I ended up at a pub catering to foreigners with lots of loud Americans. At that moment, I wasn’t sure I was ready to leave and get back to all that.

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I am honored and excited to announce that the feature documentary that I produced with director Nicole Torre, “Houston We Have a Problem” has been invited to the Documentary Fortnight at the Museum of Modern Art in New York City. This is a high profile event, so we hope to have a good crowd for both the 1pm and 3pm showings on February 20th, 2010.

For those of you that don’t know, “Houston We Have a Problem” is a feature film, shot on HD, about the history and future of US domestic energy policies beginning with the Wildcatter’s discovery of oil in the late 1800’s. The film premiered at AFI-DALLAS in March 2009 and has gone on to play at over a dozen festivals to critical acclaim, nationally and internationally, including the International Documentary Festival in Amsterdam.

That following day, February 21st, the feature comedy that I produced, “Tales from the Catholic Church of Elvis” will be in competition at the Big Muddy Film Festival in Southern Illinois. I’m glad to have the film playing there since this is the very same film festival that I won my very first film award 22 years ago for “Travelin’ Trains” (Best Narrative Film) That film can now be viewed on IMDB.

I’m also excited to announce the world premiere in March of another comedy I produced, directed by Diane Namm, “Telemafia” at the Dingle Film Festival in Ireland.

In regard to upcoming projects, I am reviewing a few proposals, but like for most of us, funding is tight. I’m still trying to get my documentary feature “Witness Trees” and narrative feature “Press>Play” financed, but am also producing/line producing and Assistant Directing for other production companies again. I have also partnered with Jeff Seckendorf for commerical productions at Snaproll Films. Check out the body of work at the website.

Luckily, I also do have some post production rentals coming in to Unconventional Media through Stefan Rhys, a terrific editor. Check out his reel at www.CoffeeCartProductions.com We are also starting to see a return on the 4-hour DVD of the “BrandU – Conscious Entrepreneur Experience” presentation and talk show that I produced and directed through Unconventional Media last year. You can get a ten minute taste of the show at www.BrandU.com/FreeCEE

I also continue mentoring new filmmakers with the OneOnOne Film Training program and have been scheduled to teach another one of my week long workshops on Line Producing/PM/AD work in Rockport, Maine at the Maine Media Workshops in late June.

Looking forward to a productive 2010. As always, you can get updates at my website, EricMofford.com

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When I was in the eighth grade, my buddies would come over almost every day after school to my parent’s apartment to play the board game, RISK.  It became a ritual and soon the topic of conversation between us, each day at lunch and recess.  In fact, one time three or four female classmates came to the apartment, pleading for us guys to give up the game and spend some time with them.  We said, “no way!”  Ah, the decisions we make!

I’ve always been a fan of games, the more complex the better.  I’ve played board games, cards, Dungeon and Dragons.  I enjoy the social interaction, the elements of fantasy.  After all these years it shouldn’t be a surprise that I would take my filmmaking experience and put it to use in video games, but it wasn’t until last year when my company, Unconventional Media produced the live action portions to the Electronic Arts (EA) video game, “Need for Speed: Undercover” that I really began to understand the tremendous possibilities of video games and interactive storytelling.

Last week, I had the opportunity to attend the Electronic Entertainment Expo, simply known as E3, at the Los Angeles Convention Center.  Presented by the Electronic Software Association, this is the event where new games and gaming inventions are unveiled each year.  The roll-out was impressive, the technology amazing.  I was in awe of the big LED televisions displaying such realistic, spot on graphics.  However, what really caught my attention this year is the amount of immersive game play devices being released.  Nintendo introduced a device, the Wii Vitality Sensor, that clips to a player’s index finger and reads their pulse into the game.  This is the same company that has been so successful with the Wii Fit, which helps a game player lose weight by bouncing on a board that feeds the movements into game play.  Basically, your movements are the game characters movements, so if the game requires your character to run or jump, then you, the player must do the same.  A hell of a workout.  Ubisoft Entertainment introduced a competitive, more serious fitness title, “Your Shape” that actually customizes the workout based on body type.

However, the Project Natal for the XBox really knocked me over.  You’ve got to watch the YouTube video attached to really understand the interactive possibilities.  You can fully immerse yourself into a virtual world.

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As I wrote in this blog last October, after the “E for all Expo,” the philosophy behind my company, Unconventional Media, is to deliver a fresh angle for new entertainment, incorporating movie storytelling into game play.  This seems to be a growing, exciting trend in the business, although much of it remains tied to feature film releases like “Batman,” “Watchman,” “Harry Potter,” etc..  I do admit it was fun to stand next to the original Ghostbusters Ecto-1 vehicle, parked outside to promote the Ghostbuster Video game. I believe with the immersing technology of virtual game worlds, we can create storylines to form a new kind of entertainment.  It’s like my fictional screenplay, “Press>Play” as reality.  We enter the story, virtually.

Since I’ve always enjoyed the social aspects of game play and find the solo aspects of most video games a little lonely, like playing Solitaire, you’d think I’d be a big fan of online gaming. I’m fearful that getting involved in games like “World of Warcraft” and other multi-player online activities will become such an addiction that I’ll never go outdoors again.  Hell, I won’t even play “Mafia Wars” on Facebook.  However, after viewing the EA and LucasArts upcoming release, “Star Wars: The Old Republic,” a multiplayer, online game based on the franchise, but set in a different time period, I may be hooked.

After a couple of days of the loud noises and visual attacks of E3, I had to make an escape. I sat down with some friends and played “Joan of Arc,” a good old fashioned board game.  The game takes place during the 100 year war between England and the provinces of France.  There are castles, battles, land grabs, even the plaque, but there are also alliances between players, negotiating between teams, the human element.  I miss this part of game play in video games.  Sometimes, it just feels like it’s you against the machine.  I like the social interaction. Maybe, I’m just a board game geek.  Anyone up for a game of RISK.

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A few months ago Chase Bank introduced themselves to California by taking over Washington Mutual Bank.  I did not bank with WaMu, but based on my experiences with my WaMu credit card, I certainly feel sorry for those that did. Chase Bank is abusing their power and taking advantage of the small businessman, like myself. Just over a year ago I started Unconventional Media and took advantage of an offer from Washington Mutual for a transfer of funds to my new business account. The APR offer was 1.99%.

A couple of months ago I was informed that Chase Bank was now the proud owner of Washington Mutual. There were lots of cheesy pictures of happy consumers and reward programs, but no mention of interest rate increases, even in small print.

This March, I received a credit card bill reflecting an APR increase of 23.24%. I immediately called Chase customer service and spoke with a very nice lady named Brandi. They will not give you their last names, in fact who knows if these are even their real first names. Brandi informed me there was an increase, but they had made a mistake and some of the finance charge would be credited to my account in 7-10 business days. I received a letter that informed me of the rate increase to 9.99%. This month, I received a statement with no credit and still reflecting a 23.34% APR. I called Customer Service and talked to a very rude women named Wanda from Texas, who basically said that was the corresponding APR now on my account. There was nothing I could do about it and no one I could talk to about lowering it.

Well, there is something I can do about it. There is something we can all do about it. I wrote letters to the President and California Senators Boxer and Feinstein. The banks took billions in taxpayer bailouts, then turned on their own customers – hiking interest rates on credit card balances, changing fixed rates to variable, adding new card fees, reducing good customers’ credit limits. If at all possible, boycott Chase, find another bank, an honest bank.  There are a couple. Several comprehensive credit card reform bills have been introduced in the House and Senate during the 111th Congress. For instance, Senator Christopher J. Dodd (D-CT) has introduced the “Credit Card Accountability Responsibility and Disclosure Act of 2009” (S. 414). This legislation would prevent credit card companies from increasing interest rates on customers in good standing for reasons unrelated to their behavior. Additionally, it would require credit card companies to notify customers 45 days in advance of an interest rate increase and would allow the customer to cancel the card prior to the increase. Support this bill, call your Senators, congressmen, sign the petition at www.Creditcardreform.org

I’ve paid off my Chase credit card account, but I am owed hundreds of dollars in overages. I imagine the same thing is happening to many other people, some who don’t have the luxury of paying off their bill. What the bank is doing is illegal credit card abuse and the industry must be reformed to protect the American consumer.

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tuckerwallmoniter

Tucker Stilley has always shown an interest in quantum physics, but his “Virtual Artist in Residency” at The Monte Vista Projects Gallery is the first time I’ve seen so much work by one artist dedicated to the scientific theory.  It’s like a visit to SpaceCollective.org with paints and music.  Curated by his fellow Massachusetts College of Art classmate and friend, Sam Durant (who has a great show of his own “This is Freedom” at the Blum and Poe Gallery) this is an LA Times critically acclaimed, must see presentation that has been extended until May 3rd, 2009.

I’ve written about my brother-in-law’s amazing work on this blog before when a showcase of his video art was presented at the REDCAT in 2008.  Diagnosed with ALS (Lou Gehrig’s Disease) in 2004, Tucker no longer has control of his limbs, so he uses a reflective bindi-dot on his forehead to control a complex system of computer technology.  The “How We Do It” video explains the method behind the creation of his on-going hyper-signal artwork, “The Permanent Record of NewJack_Rasputin.”

In the program notes for the Monte Vista, Tucker writes, “I feel it is logical, my own nervous system failing, that I would spontaneously generate an alter-ego, tear a hole-in-space and try to escape.  My situation warrants immediate and drastically uncompromising self-metamorphosis. An exquisite new aesthetic unfolds when you are standing on the deck of a burning ship. Being paralyzed amplifies the uneasy link between intent and action and brings into question the true meaning of this place and time that we occupy…and of what our ultimate audience might prove to be.”

If this is a blog about Unconventional Media, then Tucker’s pirate avatar, NewJack Rasputin is leading the charge, wielding a sword.  First stop at the gallery should be a read of the comic book, written and created by Tucker.  It is the backstory of NewJack Rasputin.  It is as cryptic as most of Tucker’s work, requiring close scrutiny.  Each reading I discover new thoughts and true life personal history.  Most of the comic book is available to view online at Tucker’s site, www.TuckerStilley.com.

There is a virtual media experience where gallery visitors and online viewers can interact with Tucker as he works.  The viewer has the experience of being inside the computer, looking at the artist’s “frailty and strength.”  Online, no matter where you live, you can catch Tucker making art – most days around 2 – 9pm, Pacific Time (Note: if you hear “crickets” he’s not at his console).  I’ve never seen the webcam technology put to better use.  As we watch we could become part of his next work.  At the gallery, there is a “keyboard” below the computer screen encasing over 465 used, reflective bindi-dots.  To the left of the computer are his recent brain scans.  Symbolic representations of the time Tucker has used just the turn of his head to create his art.  Above the brain scan are redefined photographs of three talents who also had ALS, Mao Tse-Tung, Leadbelly and Charles Mingus; now all with Mickey Mouse ears.

In one corner of the gallery is a collage of xeroxed photos and 8 1/2 x 11 sheets of printed words stained with red wine and tea.  (I’m in one photo, can you find me?)  Since the disease has made it difficult for Tucker to speak, the sentences, to friends, family and medical staff, read like poetry and haiku, a real understanding to the artists present psyche.  “T.O.E. (Theory of Everything),” a scroll of inkjet print outs and xerox photos overlaps one end of the word collage.  This is an older work, (which I’m proud to say I own a signed reprint copy), from his early days of computer art.  More stuff like this can be found at his website.  It’s a strong piece to have in the exhibit, not only because one image on the scroll shows Tucker drawing with his hand, when he could, but it also evokes the theories of time travel and quantum physics found in much of the recent works, many with “Time Weave” in the title.  One example, “Time Weave 63-11 Roberta” is a great representation of a person being in more then one place at a time.

The color prints of computer generated art, some of it originating from super 8 film footage or old photographs, much of it requiring viewing at different distances to fully understand the scope.  “Gimpcon Auto-collage, Self Portrait” looks to be a collection of patterns and shapes until you step back far enough to realize it is a portrait of Tucker wearing sunglasses.  Same holds true with “Last Wine Stomp at Dressle.”  My favorites of manipulating visual images into color were the “3-D Hawaii” series and “Midnight Nude at Noon.”

The “Ghost Photo” collage series reminded me of some of the first photographs from the last century that we’ve been researching for the New Orleans Paraplex documentary or stills from old silent films.  I also really liked “El Morro,” a freeze frame shot from one of Tucker’s short videos.  In the video, a big tire tube appears on the beach in a seven second circle of life at the edge of the Pacific.  In the still frame, the tire is frozen, peering out to the horizon, like a cast member from “Lost.”  Speaking of “Lost,” a shout out must go to the poster at the entrance to the gallery.  This is from a conceptual art piece Tucker did a few years back covering telephone poles with posters of an Iquana-lizard man lost like a neighborhood dog.

It’s an incredible show.  If you can’t make it to Los Angles, so much of Tucker’s art work can be seen on his website.  And just like his art, there are many “Easter Egg” surprises to explore and lead you to his music, video and other art.  It is a real interactive website.  Also visit “All Hands on Board,” a social networking site of friends and fans of Tucker Stilley’s work.  It is also another portal to his “Hole in Space” webcam.  For me, he is a mentor to the real possibilities that can be achieved with new media, new technology and new ideas.

Monte Vista Gallery
5442 Monte Vista Street
Los Angeles, CA 90042

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