The film Dark Matter is based on a personal archive of family portraits and landscape photographs that have been used to trace the obscure biography of the filmmaker's father.
With the second world war as a backdrop the film follows his trail through industrial structures, moody forests, and surreal half desert. In addition, the film material itself tells a compelling story in detailed and complex abstract images. A variety of chemical, bio-chemical and mechanical techniques were used for the creation of these animated ‘direct’ intrusions on photochemical emulsion.
Taking a selection of my father's vast archive of landscape photographs as a starting point, I embarked on an investigation of the possibilities for creating 'landscapes' directly on motion picture film material.