ARTIST STATEMENT Untitled from De Profundis (Dock Guy #1) 2001, 46 x 34", Iris print on Arches watercolor paper This new series of large-format, film-based Iris prints is culled from my vast library of collected 8 mm and 16 mm home movies, news reels and early gay male erotica—a historical document of daily life and desire that spans from the 1930s to the 1970s. Funded by the Rockefeller Foundation, a summer residency at the Institute for Electronic Art of Alfred University, allowed me to explore a new artistic practice evolving out of my work as a filmmaker. Over the last eight years I had already developed a series of uncommon photochemical processes and extended darkroom techniques that dramatically alter original movie frames. These methods include optically printing the original source images onto 16 mm hi-con movie film stock, then hand-processing and chemically infusing the footage with color. This exploration is supported by a long tradition of experimental film artists who have worked directly on the film stock to create forceful imagery as crafted frame by frame. Committed to producing hand-made films for over 20 years, I find that only now, with digital technology, is it possible to bring this physical aspect of experimental cinema into larger view. There are formal, cultural and aesthetic influences at work in my process. Together they effect a shift in the logic of the image, a transformative staging that highlights the material nature of the film itself. This photographic alchemy, along with the use of fragmentation and repetition, function to wrestle images from their original moorings. Out of the long-forgotten worlds in which they formerly circulated, I join these images in such a way as to make available new meanings at the level of private vision and collective memory. I have relied heavily on these processes and on my intuitive embrace of the "experiment" to push still further my interest in alteration. Assigning personal relevance to newer techniques in the medium of printmaking, I have chosen specific frames from my films to render visible an ephemeral transition. Intimately linked to the differences between photograph and film, these prints re-present that passage from the kinetic to the captured.  My art work resides in the arenas of structural or materialist film practices and queer avant-garde cinema. I have been exploring these disciplines simultaneously Untitled from De Profundis (Two Boys Fucking) 2001, 46 x 34", Iris print on Arches watercolor paper in an effort to bring a queer cultural voice and perspective to the traditions of alternative cinema while also engaging the "language" of that tradition to open a critical dialogue within contemporary queer cinema and culture.  My art work has shifted from its early formal focus to foreground a critique of the social framing of sexuality and masculinity. It fractures boundaries established by a conservative gay movement and gives voice to the radical margins of sexual dissidence. With this aim, I employ home movies, historical gay pornography and other culturally produced images. I then filter these images through the lens of a theoretical perspective with a view to sexual difference and cultural analogy. Formally this is continuous with the way I intervene physically on the surface material of the film, disrupting the image in order to redirect it under intense critical and aesthetic scrutiny. The process driving my recent print project is a hybrid one, an organic result of my formal experimental film methods and of my interest in translating moving images into a seemingly static medium. The pieces, printed with Epson Archival Pigmented ink on Epson Somerset Velvet paper, push translation into a more painterly medium while maintaining a trace of the original photographic image. This new form mirrors my film production, which involves contamination and transgression both in the chemical process originally set into motion and by combining frames—mimicking the effect of the "splice." The detail and complexity of each frame is revealed in this presentation, allowing the viewer to study individual frame-images and to contemplate that alluring space that disappears in the cinematic experience.