The Devil Had Other Plans (2020, 13 minutes, UK)
A gut reaction to the Coronavirus apocalypse, made in the first months of isolation and confusion in March-June 2020, echoing the shocking, eerie and surreal experience of the pandemic. The classic Zombie film 'Night of the Living Dead' (1968) is processed by a mix of machine-learning colorization, datamosh techniques, re-cutting and sound work, unveiling visions of the invisible. A post-horror experimental film/series in three acts. This is Act I - SHOCK.
2015, UK, 4'02''
A symbiosis of human and nature forms, by direct manipulation of video code, purposely damaging it in ‘glitch’ process, creating rich explosions of colour and form. The images, a little girl in a flower field, Earth from space and bits of satellites, become vibrant substance, where the girl and the environment interact in a constant process of mutual consumption, reflecting poetic perception of existence.
“The machinic phylum is materiality, natural or artificial, both simultaneously; it is matter in movement, in flux, in variation”.
Gilles Deleuze and Félix Guattari, "A Thousand Plateaus".
2001, USA/Israel, 5'26''
First project, initially made in M.A studies in Media Studies program at New School University, NYC, USA, 2000, and was completed in Israel 2003. Two images on the TV screen: An Israeli soldier being lynched in Ramallah. A Palestinian child and his father being fired at in Gaza. How can horror be constructed in words? The work continues in a string of images and sounds, sourced both from TV and Internet found footage and personal MiniDV recordings, de-constructing image and language, challenging them as tools for human expression in the face of horror..
LAYERS OF COGNITION
2005, Israel/THE NETHERLNADS, 5'12''
The video depicts a dark and obscure world of perception, trying to capture the intangible, breaking away from the concrete notion of sight and sound, and creating an amplitude of cognitions, where attention is diverted to unexpected places: ‘As we move from the more conscious aspects of interpreting messages toward the more unconscious processes of perception we seem to be shifting our levels of abstraction from the more concrete towards the more abstract’ (Gregory Bateson).
FIELD OF INFINITY
2018, UK, 5'22''
Inspired by both Italian renaissance paintings and contemporary news broadcasts from Gaza protests at the border with Israel - the work processes human gestures and figures in landscape into a dark and colourful scramble. Following Deleuze and Guattari's concept of 'Plane of immanence', the work aims to open up an array of reflections, including concerns about the political image, image of the political, the politics of the image, and the image of image.
2014, UK, 4'19''
Radiant, raging 11 year old Ahed Tamimi is punching the empty space in front of her. A computer algorithm roughly cuts her out of the surroundings, struggling to contain her, with her enemies rubbed off the frame. Gradually, more fragments of the scene are revealed, and the context is made clearer. The processing of the 2012 video found on YouTube highlights the documented scene as an image, both of a fight for freedom and a media event.
- Best experimental film award - 15th Un festival c'est trop court ! In Nice, France
Best experimental film - Calcutta International Short Film Festival 21.12.20
Best experimental film, Hong Kong Arthouse Film Festival 26.6.20
Grand Prize - Festival international Signes de Nuit, the Italian version in Urbino Italy 30.11.19
Best experimental film a - Venice Film Week 3.9.19
2008, Israel, 4'35''
One excerpt from a flow of Internet video news: a family is hiding behind a wall in a neighborhood that turned into a warzone. The compressed video is slowed down, enlarged, and accompanied by a new soundscape, revealing additional dimensions in the scene. The image is transformed into a psychedelic landscape, creating a troubling contrast between imagery and content, questioning video as medium, leading to an uneasy affect: anxiety deconstructed into pixels.
AI art works galleries: https://makersplace.com/gulisilb/gallery/created
Matter & Light (2019, 7 minutes, UK)
Matter & Light is inspired by the painter Turner and by French Impressionism, with most images filmed in Margate in the UK and at the Bay of the Somme in France.
It deals with contemporary environmental issues affecting an overflowing, falling-apart world, using low compression and self-produced imagery to achieve a melting painterly look echoing sustainability and poetry. The work experiments with making video art that continues ideas developed in the field of painting. Painterly traditions are applied to moving digital form to reflect on the current world.
SOMEWHERE WE LIVE IN LITTLE LOOPS - SPECIAL EDITION
A limited edition on Sedition Art
2020, UK, 5'00''
A machine-learning based video-prediction technology learns and then re-creates a string of nature scenes and human life images. Woven together in a rhythmic, hypnotic pace, visual snippets and motion patterns appear, reborn and fall apart. The video segments begin "normally" and are then being continued by the computing process to become a "new normal". The result is surprising, eerie and poetic, raising both concerns and wonder regarding human-machine relationships, and future effects.
STUFF AS DREAMS
2016, UK, 5'52''
Panicked news reports from scenes of terror that may or may not have happened, and family and travelling images that might have been a dream or maybe not, are intertwined into a painterly collage breaking-up and collapsing into itself, exploring both personal and public perceptions of an increasingly fractured world.
Best experimental film, Short Movie Club, Minsk Belarus, 23.7.17
Best experimental film, New York Film Week, 11.7.17
Best experimental film, Sydney World Film Festival, 26.6.17
3rd place award, International Videoart Festival of Camaguey, Cuba 9.4.17