TEXTS & PRESS
Toni Pipolo - Strangest Things: on Projections at the 56th New York Film Festival (Artforum, 2018)
James Edmonds’s A Return is a bracing demonstration of the continued power of montage and of 16 mm, bringing widely disparate spaces together in a manner so personal and visually arresting that it recalls the work of Stan Brakhage—all in six minutes.
Michael Sicinski - Toronto: Wavelengths Preview — "We Do Not Care if We Go Down in History as Contrarians" (MUBI Notebook, 2018)
There are few pleasures as profound as discovering a first-rate talent, and James Edmonds fits the bill. He has been making films for quite some time, although his work clearly hasn’t received the attention it deserves. Fortunately, a number of programmers are rectifying that with his latest film, A Return, a near-perfect marriage of impulses that are often understood as being in competition: the formalist and the personal, the structural and the atmospheric.
The film is about literal returns, as it captures Edmonds’ movement between Germany (where he was working on a film restoration project) and his home in the U.K. One observes certain things about A Return as it unspools; it’s a film that gradually teaches you how to watch it. In the first half, we see various superimpositions around the foyer of an apartment building, and these segments are notable for their rectilinear character. There are motifs: light through a stairwell, potted plants, and views of a city out the window. The superimpositions not only overlay the gridlike structure of the bannister over the organic plant forms. Edmonds also moves the camera in opposing directions, resulting in a push and pull of linear movement. These portions of the film echo the work of Stan Brakhage and Robert Beavers, but have a countervailing tension all their own.
In the second part, we are clearly back in Britain. It is not only the sheep fields or grayer weather that reveals this. Edmonds masterfully captures the palpable air of Blighty, the thick fog and the granular light that registers on the filmstrip as chunky grain. And as we see specific details—a Barbara Hepworth sculpture, or an older man backlit against the windowed wall of a kitchen—Edmonds gradually moves us out into the landscape, and finally out to sea.
Edmonds’ film is packed with small gestures that are so controlled as to virtually explore. The pan down from a stair rail, oriented on the vertical and horizontal axes, to reveal the relative chaos of a potted fern, has the power of a firework, simply because Edmonds’ camera has zeroed in on this unexpected detail. A Return is a subtle collision of these domestic micro-events, articulated with other images that capture the expansiveness of land and sea. This film is a little miracle.
Chaos Versus Frame: in conversation with James Edmonds (intro) (la furia umana 28, Toni D’Angela 2016)
The cinema of James Edmonds (1983) explores the complexities of the real not as a mere substance named “reality” but in its most fluctuating and Turnerian correlation, in those uncertainties that make it impossible to fix it in any specific point in space. A splendor in the world. His last film Movement and Stillness (2012-2014) assembles a series of motives and topics that are recurrent in his work and that situate him within a tradition bringing together Peter Gidal, Leighton Pierce and even Jean-Claude Rousseau. A poetics of space. Edmonds composes a poem about inhabited spaces, a dialectics without synthesis between the internal and the external. The almost fixed frame moves as if it were shaken by the wind, in the same way hung up clothes swell, the camera cuts across rooms, the exposure to the light makes the composition of the images iridescent: stains, halos, colours. The immeasurable intimacy of the house, the intimacy of the open space, the flesh of the bodies, the vapors, the stain glasses that evoke the work of Joseph Albers, the chiaroscuro produced by the shutters, the windows from which the trees outside appear – the ramifications of Being – all of this united by the very fast and kaleidoscopic montage. Movement and Stillness is an “aleph” in which the seasons alternate (the snow and the flowers), and with them the day and the night, the lights and the shadows, figuration and abstraction.
Since After Hours (2005) Edmonds intertwines the mobile and the immobile, the internal and the external. In this work an office building is almost like a moving film: the lights from the windows shine in the night as if they were film perforations sliding. Handheld camera, panoramas, still lives and improvised rhythms. Night and day. Space is not just something we simply inhabit. A deserted building is like a film: it has a history that is revealed by the play of light and shadow on the various elements that compose this space. Also Inside/Outside (2008/2015), that begins with a flirtatious interaction between the clear and the blurry, is like the previous film filled with corridors that, through superimpositions, cross over each other – or perhaps only one or just a few. A constellation of internal and external forms, in a continuous return, moving from closed to open form, from one film to another. Overland Collages (2015) is his most fragmented and abstract work, with echoes of Norman McLaren, a string of lines-force, in fact, from Movement and Stillness.
The segmented and associative montage of Edmonds is not governed by cuts seeking to connect signifier and signified but rather by a lacanian capitoné point (or cushioning). This is an anti-representational and anti-narrative knot, which makes the signifier/signified relation a more dynamic, fluid one, and which does not work with a descriptive language but institutes a topography of desire – a fabric weaving itself with an already existing one. A flux as infinite as desire. A ramification through the frame of windows that open wide the splitting of Being, as a work in progress Sternwarten der Welt. It is not in any case a form of welding – a simple intersection organized around anchor points – but rather a collage inspired by Burroughs’ cut-ups, as it is intimated in another of his works in progress, We all live in the Blue Image Forever. In this case a lyrical quality speaks of another inspiration of the filmmaker, Stan Brakhage.