Skinside Out features paint on skin, carried out in an expressionist mode on both of the filmmakers' bodies. The emphasis is on the pleasure of looking -- at the edge of repulsion -- and the implications of making public an essentially private gesture. The film posits painting as a gendered, bodily act, whose location shifts continually within a context that's always changing. Images filmed in the studio are juxtaposed with footage of a construction barge along the Hudson. By examining both in relation to surface, the work paradoxically looks for what lies within, while questioning who and where we take ourselves to be.
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NULLSkinside Out features paint on skin, carried out in an expressionist mode on both of the filmmakers' bodies. The emphasis is on the pleasure of looking -- at the edge of repulsion -- and the implications of making public an essentially private gesture. The film posits painting as a gendered, bodily act, whose location shifts continually within a context that's always changing. Images filmed in the studio are juxtaposed with footage of a construction barge along the Hudson. By examining both in relation to surface, the work paradoxically looks for what lies within, while questioning who and where we take ourselves to be.
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