By providing rare examples of experimental films, Bruce Elder showed how light can be manipulated to create radically different results and how it can be interpreted and filtered through the personal experience of the artist. Light is primal, experiential and outside of language, almost a sacred energy, something that takes but also gives.
For every image there is a form of energy. To illustrate this, Elder chose to show Moholy Nagy’s light space modulator , a great example of how light as energy can be “modulated” to become a sculptural element.
On a different level, the works by animator Oskar Fischinger
combine music and images, and render the trajectory of dialogics and harmonics within the film, as if he was re-writing the notations
of course, this example is in deep contrast, though it is intimately connected with the work of Jim Davis,
an almost unknown film-maker who spent a long time experimenting with light, and colors. his films try to reproduce the ephemeral immateriality of light and the formation of colors in crystals and glasses, capturing, he thought, ” the essence of movements and light.”