Rose Lowder: Bouquets

Bouquets draws attention to the importance of ecological thinking in Lowder’s work. This is evident not only in her economical use of 16 mm film (the one-minute Bouquets was shot on leftover film), but also in her choice of subjects – Lowder’s lens usually focuses on corners of nature untouched by human activity and the everyday life of small ecological farms, which she has been visiting for many years.

Programme curators: art historian and curator Inesa Brašiškė and MO Museum chief curator Miglė Survilaitė

WARNING: The films use flickering images that may cause health problems.

Impromptu 

Mounted frame by frame in the camera by rewinding the reel several times during filming, the composition of the film is based on the interweaving of images recorded at two or three different periods of time. The mingling of the mobile forms in each space on the screen represents a particular spatiotemporal experience. Initially a work in progress, Impromptu was not designed to be screened in its present form. At least the film bears up to its title: unplanned distribution, fortuitous sound supplied accidently by the lab, unexpected actors, and an end title produced by chance.

Bouquets 1-10 

These first “Bouquets” are part of a series of films of one minute each, on various subjects. Every Bunch can also be rented individually. Structured in the camera during “filming”, according to modalities worked out progressively in my previous films, these researches develop to compose a film bunch of pictures picked every time in the same site, at various times. These bunches of pictures chosen and weaved in alternated order also include some accidental photogrammes which, such of the herbs “poor”, can be harmful or useful, depending on circumstances.

Bouquets 11-20 

Bouquets 11-20, filmed in Italy, Switzerland and France, was delayed by the weather and a series of related technical/aesthetics incidents. The ten little films continues the work begun with the series Bouquets 1-10 and 21-30. This consists of weaving in camera visual aspects of the filmed reality in order to bring into existence specific features of the cinematographic image, hopefully placing us on a boundary outside the traditional roles of description or abstraction.