» Experimental Narratives & Avant-Garde Shorts

In formal terms, COPY SHOP comprises about 118,000 photocopied digital film stills, which have been animated on the editing table and filmed in 35 mm. It is the story of a man who works in a copy shop and photocopies himself until the whole world is made up only of him. A feeling of ineluctable madness arises from the process of mechanical reproduction and the concomitant mass duplication of the ego. In TX TRANSFORM, Widrich attempts to develop a new configuration of the body and objects in movement; he inverts their respective axes during the recording process, which allows the spectator to read their displacements in time instead of space. This creates disturbing visual effects as well as narratives, such as the co-existence of the present and future of an action, or image, within the same shot. (This is also a technique he employed in TX REVERSE).

In the found footage vein, Widrich works with a remix sensibility when he edits together images from hundreds of movies into the same film. In BACK TRACK, he generates 3D clips from (2D) commercial films of the 1950s and 1960s by shooting with a still camera and projecting onto glass. He translates the resulting medley of images into a hand-built three-dimensionality. The visual levels collide (physically), and dream and reality superimpose and dissolve: an audiovisual hall of mirrors in ragingly beautiful black-and-white. FAST FILM was made by digitizing, and printing 65,000 images (sourced from more than 300 movies) which Widrich transforms into three dimensional objects that fold, rip, vibrate, layer on and shatter through one another, resulting in a chase film to end all chases.

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