sequence of digital files, color, silent, 1 hour and 52 minutes, looped, 2011



      Eyelines explodes one of the fundamental editing strategies of narrative filmmaking, the eyeline match.  The eyeline match unites a close up of an actor looking in a direction and a shot of what we understand to be the object of that actor’s gaze.  Eyelines makes use of five close ups with a strong sense of direction (either a glance or a camera movement) and alternates them in a stroboscopic editing pattern.  The footage – from television commercials of the late 1960s and early 1970s – has, like most color film from that era, faded to red.  But each shot has faded in a slightly different way, one more orange-red, another so magenta that it is almost purple.  The contrasting colors, double images and afterimages produce complex patterns and conflicting glances that change very gradually.  Juxtaposed loops go into and out of (and back into) phase.  Every permutation of combinations of frames is exhausted over the course of almost two hours.