Pat O’Neill

  • Pat O’Neill – Foregrounds (1979)

    1971-1980ExperimentalPat O'NeillUSA
    Foregrounds (1979)
    Foregrounds (1979)

    “FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O’Neill begins to animate ‘scratches’ over the image, one’s eye refuses to surrender the illusion of volume.” – J. Hoberman, The Village VoiceRead More »

  • Pat O’Neill – Horizontal Boundaries (1997)

    1991-2000ExperimentalPat O'NeillUSA

    Horizontal Boundaries takes on Los Angeles as an uncertain subject, a displaced location in space and time. Shot in and around the city and other locations in California with “the intent to produce “synthetic” depictions of locations made up of multiple and disparate parts,” O’Neill combines the visual effects with a visceral soundtrack that demands the total attention of the viewer. As O’Neill writes, the goal is to “present an image that is both clearly understood and obviously altered. Altering the imagery from its original photographic state raises inevitable questions concerning its reception: What are we to believe? How is a representation changed by proximity with another? How does contradiction, itself, represent our experience?” And goes on to point out that, “My films share some of the concerns of other experimental filmmakers worldwide: defining parameters for the representation of space and time, exploiting personal experience as metaphor, using archival materials in a restated context.” – Cherry and MartinRead More »

  • Pat O’Neill – Screen (1969)

    1961-1970Pat O'NeillShort FilmUSA

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    Screen (Pat O’Neill, 1969, digital (originally 16mm), color, silent, 4min.)
    A less-well known work by O’Neill, originally intended as an installation.
    Consider supporting the filmmaker.Read More »

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