Cherry Kino

Cherry Kino

Saturday, 30 November 2013

Going Dutch!

To all my lovely readers, this post is part of an application process for an Artquest & M4Gastatelier residency I would dearly love to do in Amsterdam. Wish me luck! x

Going Dutch Application - Martha Jurksaitis (Cherry Kino)

Hi!

A website at www.cherrykino.com is currently being built, so I am using my blog for the application to 'Going Dutch'. Please find below a selection of 5 images followed by 5 film works, for your consideration. I have included relevant information above each, plus a direct link for each of the films. All my film work is hand-processed.

Riding Pink, Little Hood (Polaroid Spectra, 2013)

A rose-coloured re-visioning of Little Red Riding Hood (the title is also a reference to the clitoris). The feminine archetypes of the girl who strays from the path (Little Red Riding Hood) and the first woman (Eve) are mingled together, in a quest for knowledge through a journey into the forest of self, putting the wolf skin on (inspired by the book 'Women who Run with the Wolves'), and eating the apple knowingly, staring right back. This and its sister piece (not shown here) are part of a collection of Polaroids I made in Finland, which are being made into a book that I am self-publishing, 'Feels Like Velvet, Feels Like Rain: Poetry and Polaroids from the Finnish Forest'.


Untitled (Polaroid 4x5, 2013)

This image is also being included in my book. It was made with a pinhole 4x5 camera using expired Polaroid colour film. I allowed the film to develop by placing it directly over my womb, under my clothes and furs, in the freezing Finnish winter. It is untitled.


Nail Art    (16mm, 2013, can be presented both as a single screening and looped installation)

This is a still image taken from my 16mm film entitled 'Nail Art'. I made the film entirely using nail art materials - nail varnishes and nail art stickers, nothing else. It's a visceral response to the craze for nail art, and considers whether nail art is wholly at odds with female freedom, as an activity that requires maintaining a veneer at the cost of empowered physical action in the world, or whether it's a modern-day equivalent to patchwork and a piecing together of feminine community and the emergence of a fresh and active aesthetics. Nail varnish and filmmaking do have some parallels - both involve toxic chemicals coming into contact with lungs and hands, both contain organic substances (keratin / gelatine respectively), and both can be somewhat preserved through the use of a sealant (clear top-coat / film guard).

I chose to make my film on 16mm Ektachrome, a film stock now discontinued and considered perhaps 'dead'. The film you see is the original, which I processed with my hands, and which will progressively become more and more worn by the projector each time it is played. I won't try to 'patch up' my film (or nails). I will let it gloriously scratch and wear off through being well and truly used. Nothing is pristine. Underneath their attractive coatings, nails are full of bacteria and dirt. My film is living and dying at the same time, perpetually moving. Nails keep growing after death. Is the same true for analogue film?


Portuguese Woman Of War (Super 8 & 16mm, 2013/14, single screenfilm)

These are two still images from a film I'm currently working on. The film combines footage I shot in Cornwall with footage I am going to shoot at Almendres (Portugal) this December, at the Megalithic stone circles there. It is a musing on the Portuguese Man-O-War ship (most ships were considered to be female before this ship model was made); the fascinating jellyfish-type creature named after it, which is actually a colony of creatures itself; and the connections between Cornish and Portuguese Celtic practices revolving around Megalithic stone circles. It is also an exploration of lunar energy and cycles, and involves both Super 8 and 16mm footage.




Film Work


Attraction (2013, Super 8 to 16mm, Sound)
Please watch from 00:17 to 05:17

A very personal musing on attraction - physical, fairground, auratic, and fetishistic.

   

 Attraction from Cherry Kino on Vimeo.


Bad Blood (2013, Super 8, Sound)

A collaboration with the Yorkshire-based Brutalist poet Adelle Stripe and Canadian musician                                                                      CAR music.

     

 Bad Blood from Cherry Kino on Vimeo.


Hex of Ergot (2013, Super 8, Edited in Camera, Sound)

A piece connecting the Salem Witch Hunt of the 1690s, ergot poisoning, and contemporary consumerism. Made on a 'micro-residency' over one single day! Entirely edited in camera.

       



Berlin Blue (2013, Super 8, Hand-toned, Silent)

A silent impression of Berlin, hand toned in iron toner. 

           



Silva Shade (2013, Super 8, Hand-painted, Sound)

A piece I made in Finland using a new eco technique I invented. Silva means forest in Latin, and silver is the essence of analogue cinema.

       

 Silva Shade from Cherry Kino on Vimeo.


x Martha Jurksaitis