Suzan Pitt

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Surrealistic and strange, cast in grainy 16mm images, the film VISITATION allows an imaginary glimpse into the aura of “an outer-world night”. . . the visions in the film are summoned from the film maker’s imagining of a mythical eternity which is beautiful but fraught with pain, exposed by the ether voices and figures which inhabit the eternal ballet beneath our consciousness. “’My mood at the time had served to aggravate those deeply inhuman and most terrible beings when they came with total abandonment from where they had lurked amongst the stones and wet woods”… With these lines, VISITATION unwinds through a hand painted heavenly hell of unending life and death; steeped in the alchemical and inner dream life the film explores a black and white landscape of gothic figures who enact evolving metaphysical dramas.
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I had a garden where I grew Asparagus from seed – it’s a very primitive vegetable going back to the time of the dinosaurs. It comes out of the ground as a phallic stalk, pointy and purple green, the essence of a beautiful masculine form. But then as summer passes it stretches tall and becomes a delicate fern, seen on roadsides tilting in the wind, the essence of the feminine like long strands of tangled hair in the breeze. I thought of it as a beautiful symbol of sexuality. From that I made a visual poem about the creative process, taking the role of the magician/artist as the protagonist who ushers the viewers through her search for the essence of the creative forces which rule and drive our existence.
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“JEFFERSON CIRCUS SONGS alternates and sometimes combines life-size cardboard animations with live performances by children and the effect is entirely unified and delightful.” – Edgar Daniels, Filmmakers Newsletter “Suzan Pitt [Kraning]’s films possess an absolutely cosmic sense of patience, of things happening at their own speed and with their own logic. Made with children, JEFFERSON CIRCUS SONGS is a string of puzzling little episodes, some using cut-out animation, some featuring a pixilated cast clad in moppet wigs with stockings stretched over their faces. After its screening at the 1973 New York Filmmaker’s Expo, critic Rex Reed noted that ‘most of it is quite sophisticated and brilliant. It’s likeable because it’s perfect for what it is – a fantasy – and such things, if done well and with talent and vision, need no outside logic … like looking into a Faberge egg.’ ” – Ron Epple, Media and MethodsRead More »

An an animated candy colored nightmare from indie artist Suzan Pitt.Read More »

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The animated film VISITATION unwinds through a dark landscape of unending life and death; steeped in the alchemical and inner dream life the film explores a black and white landscape of gothic figures who enact evolving metaphysical dramas. Surrealistic and strange, cast in grainy 16mm images, the film allows an imaginary glimpse within “an outer-world night…” The visions in the film are summoned from the film maker’s imagining of a mythical eternity which is beautiful but fraught with pain, exposed by the ether voices and figures which inhabit the eternal ballet beneath our consciousness. VISITATION imagines scenes from the alchemical experiments which were calculated to disclose and finally manipulate existential nature. Metals, air, fire and water were essential elements in Alchemy, and their psychological counterparts are likewise interpreted within the film as essential elements of death, cruelty, rebirth, and eternal evolution. The film was inspired by hearing wolves crying and simultaneously reading H.P. Lovecraft, a combination which led the filmmaker’s imagination into the world she then created. Using painted cut-outs and early cinema techniques (multiple passes, mattes, multi-plane levels, in-camera superimpositions, shutter manipulation, etc.) the film was shot with a 16mm Bolex camera in black and white which gives it a grainy handmade look. The abstract passages were created by placing objects directly onto raw film and exposing the film with a flashlight. Thus the film’s process mirrors the alchemical nature of chemical and material experimentation.Read More »

EL DOCTOR is a dark animated poem set in a crumbling Mexican hospital about 1920. Inhabited by surreal characters including the man shot with one hundred holes, the girl who sprouted morning-glories, and the woman who thinks she is a horse, the Doctor prefers to drink. The Saint of Holes and a mysterious gargoyle rearrange the Doctor’s fated demise and send him on a dark and twisted journey.

The film celebrates the nature of perception and the miraculous. Over five years in production the film was entirely hand painted by artists in Los Angeles and Mexico.Read More »