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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.
0.0/10Skinside 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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