words from Lyndon Barrois Jr.
A central project as of late borrows forms from existing scenography, art history, and prop logics of film production to produce what I call static filmmaking, evoking a sense of the cinematic without a moving image. I allude to a story of a museum heist as a means of wealth redistribution, thereby absorbing objects and works from museum collections, and fabricating original works in the guise of a copyist. I use the tools and aesthetics of museum conservation to muddle value, distorting perceptions of what has been forged, restored or newly produced.
Thoughts on the lab
It allowed me luxury of time and resources to follow a wild impulse to track the appearance of donkeys across cinematic history. I also developed a love for Chicago and deepen relationships with so many artists I admire in the city.