"I choose this little film to think about Form. I’m a formalist to the core. No one believes me because I also give very much care to meaning. What I mean to say. What I mean to show. What narratives I weave. Yes I also very much care about that. What do you call it when both matter, when both happen? This film has always been received with complete indifference from experimental/festival film circuit and bemused puzzlement in art circles. It’s one of my favorite works. It’s elemental. Basic in the best and funniest ways, I think. It’s all about form. And it’s all about thinking about black figures in white space. It’s about estrangement and the dissonance of black interiority within structural racists spaceways ( that being the city street, gladiator sports, fashion, public transport, whatever!) We make our own Spaceways. We make our own Spaceways however we can. Vintage pre-gentrified Hollywood. Oh how I miss it! Wandering around looking for things to film. Oh how I miss that. I was so broke when I made this. Soooo broke inside and out. I don’t miss that. Gorgeous Viola by Keith Barry aka Tree. #walkoffame #afrofururism #whatisthe4thtome #covidmanifesto #uclatft #bolex" (Cauleen Smith's Instagram 5 July)
TABLEAU I SPY:
WHITE SUIT. 1998.
WHITE SUIT is a subtle reflection on the materials that dominate the American mass cultural landscape and place people outside its largely white dialogue. This unassuming short unlocked by its use of shallow focus and carefully chosen title presents the audience with a simple stirring narrative. – the Nightingale Cinema, Playing her part, Feb 23rd.
Duvra, Mara. “A Body / a Sign : On Black Subjectivity / Interiority / Finding Tenderness: beyond Political Meaningfulness.”