5Y Kunsthal Gent cinema loop

A shi­ny other­world of holo­grap­hic reve­rie pairs the reflec­ti­ve surfa­ces of gift wrap and haun­ting resound, unfol­ding an effer­ves­cent melan­cho­ly in three parts. A mes­me­ri­sing RGB light show, fea­tu­ring com­po­si­ti­ons for bowed vibrap­ho­ne by Elliot Cole.

“The film­ma­ker and kine­tic sculp­tor Len Lye used to talk about his own films as stai­ned glass day­dreams, and I feel like Glistening Thrills is like going to church.” (Jodie Mack)

“In Glistening Thrills, I wor­ked with holo­grap­hic gift bags and wrap­ping paper that I got at a dol­lar sto­re some­whe­re. I got help from my friends making a mobi­le out of the gift wrap, and just star­ted hiking and taking my stuff and shooting it around the forest as a way to make the­se magic moments hap­pen. When I first heard Elliot’s pie­ce, it was per­for­med in this old Shaker church and it real­ly was some­what of a reli­gious expe­rien­ce.” (Jodie Mack)

“Mack dit­ches nar­ra­ti­ve for pure moti­on in Glistening Thrills, a trip­tych com­pri­sed of three per­spec­ti­ves on holo­grap­hic what­sits shim­me­ring in the dark. The first sees spark­ling abstrac­ti­ons fall (and occa­si­o­nal­ly move hori­zon­tal­ly) through abso­lu­te dark, the second views mobi­les against a forest back­drop, and the third lets fra­me-fil­ling geo­me­tric sha­pes whizz and rota­te and flash, the spark­ling move­ments in all three sec­ti­ons playing out in a curious­ly ten­se rela­ti­ons­hip with the long, sad notes of Elliot Cole’s bowed vibrap­ho­ne sound­track.” (Phil Coldiron)

Made enti­re­ly by hand from cut mar­b­led paper, this odys­sey of rem­nants re-ima­gi­nes a dream-sequen­ce love. See Mack’s pro­cess here.

Curses was made by hand-cut­ting mar­blei­zed paper (also made by hand) and inclu­des a roto­sco­ped homa­ge to Gene Kelly & Cyd Charisse’s Broadway Melody Ballet sequen­ce in Singin’ in the Rain (1952).