Trained as a painter, O. was cofounder of the Hamburger Filmschau, alongside with her husband and collaborator Werner Nekes. For all the psychedelia of her early work, subsequent films are rigorous in refractory experimentation: rear-projections, double-impositions, repeated frames and breathtaking lunges of the handheld camera, which seems bolstered as much by raw impulse as it does by any guiding principle of onscreen organization. O.’s work establishes its own space-time linearities, then arg...
Trained as a painter, O. was cofounder of the Hamburger Filmschau, alongside with her husband and collaborator Werner Nekes. For all the psychedelia of her early work, subsequent films are rigorous in refractory experimentation: rear-projections, double-impositions, repeated frames and breathtaking lunges of the handheld camera, which seems bolstered as much by raw impulse as it does by any guiding principle of onscreen organization. O.’s work establishes its own space-time linearities, then argues them against each other–sometimes content with a mild flicker, a closing or opening aperture or a flurry of blunt smears. This is a playful and often freefalling visual poetics, best left to wash over you pure and analyzed later (or better yet, not at all.)
Trained as a painter, O. was cofounder of the Hamburger Filmschau, alongside with her husband and collaborator Werner Nekes. For all the psychedelia of her early work, subsequent films are rigorous in refractory experimentation: rear-projections, double-impositions, repeated frames and breathtaking lunges of the handheld camera, which seems bolstered as much by raw impulse as it does by any guiding principle of onscreen organization. O.’s work establishes its own space-time linearities, then argues them against each other–sometimes content with a mild flicker, a closing or opening aperture or a flurry of blunt smears. This is a playful and often freefalling visual poetics, best left to wash over you pure and analyzed later (or better yet, not at all.)
