CV
EDUCATION
Bachelor of Contemporary Arts (Media Arts) – Film & Video/Digital Culture, Deakin University. Melbourne, VIC. Australia
SELECTED SCREENINGS & COLLABORATIONS
2012
Greenpoint Film Festival, Brooklyn, N.Y. USA. "A Burning Desire For Something Unusual" - group screening. Curated by Bradley Eros and Stephanie Wuertz.
Roulette, Brooklyn, N.Y. USA. "Everything Happens on Mondays" series - screening of Ghost line film (work in progress) by Shona Masarin and Cori Olinghouse with live performances by Cori Olinghouse and Kai Kleinbard.
Vaudeville Park, Brooklyn, N.Y. USA. "Our Way Lit by Projectors' Glow" - group screening. Curated by Kenneth Zoran Curwood. Screening of Ghost line film (work in progress) by Shona Masarin and Cori Olinghouse.
Union Docs, Brooklyn, N.Y. USA. "The Index of Maladjustments" - group screening. Presented by The Camera Club of New York (CCNY) and Union Docs. Curated by Lindsey Castillo.
2011
Bio Paradis / Kinosmiðja, Reykjavik, Iceland. "Millennium Film New York City" - group screening.
Osvaldo Romberg Studio, Philadelphia, P.A. USA. "Medi(t)ations upon a Medium" - group exhibit. Curated by Osvaldo Romberg and K. Malcolm Richards.
Center for Performance Research, Brooklyn N.Y. USA. — In the Use of Others for the Change - collaborating artist. Produced by Jason Andrew + Norte Maar.
Serralves Contemporary Art Museum, Porto, Portugal — Sun Moon and Stars by Elaine Summers - collaborating artist.
2010
Centotto, Brooklyn N,Y. USA. — “Marksmen and the Palimpsests” - group exhibit - screening of Intimate Machine.
Norte Maar, Brooklyn N.Y. USA. — “Verse Suivante” – group exhibit - installation of Intimate Machine.
Lumenhouse, Brooklyn N.Y. USA. — “Some very peculiar people live in Bushwick” - group exhibit - screening of selected films.
Grace Exhibition Space, Brooklyn N.Y. USA. —The Chosen, The Remembered – Film screened with live music by Andrew Hurst.
Australian International Experimental Film Festival, Melbourne, VIC. Australia — Behind My Mouth, Beneath My Lips, On My Eyes – official selection.
Famous Accountants, Brooklyn N.Y. USA. — Documents of Discovery – Multi-projector film screening with live music by Andrew Hurst and Amery Kessler.
2009
English Kills Art Gallery, Brooklyn N.Y. USA. — Poems of Apparent Motion - film projector performance with live music by Andrew Hurst.
Melbourne International Film Festival, VIC. Australia — Moving Miscellanea - official selection.
PRESS
Cat Gilbert, “Interview with Cori Olinghouse,” The 22 Magazine Blog, September 2, 2012.
Michael McGregor, “A Visit With Ghost line,” Video editorial in Kickstarter Blog, July 24, 2012.
Cassie Marketos, “Featured Creator: Experimental dance film Ghost line,” Kickstarter Blog, June 12, 2012.
Thomas Micchelli, “In the Use of Others for the Change,” The Brooklyn Rail, May 2011.
Jake Wilson, “Festival’s Reel Time Experiment,” The Age, April 29. 2010.
BIO
Shona Masarin is a New York City based Australian film artist whose work involves the physical, alchemic, and sculptural manipulation of found images and materials to create abstract animations. Finished works have taken the form of Super 8mm or 16mm films, film performances with live music, and installations; presented at film festivals in Australia, including the Melbourne International Film Festival, and at various alternative art spaces and galleries in Brooklyn. She has received funding for her work from the Australia Council for the Arts and the Ian Potter Cultural Trust. Current projects include a collaboration with choreographer/performer, Cori Olinghouse on a 16mm film based on Olinghouse's Ghost Lines. For more information on the project, click here.
ARTIST'S STATEMENT
In the search for a more direct and personal form of expression, I approach the moving image with a tactile and painterly mind. A wide-range of techniques are brought into play, including hand painting and tinting film, hand-processing, bleach experiments, frame-by-frame animation, collage and drawing, optical printing, and contact printing on home-made emulsion, for example. Each film is different in form and approach – finished works are often the result of in-process discovery as I intuitively explore the possibilities of the medium. This process is related to that of the surrealists with their automatic poetry and exquisite corpses. My own exploration of the unconscious landscape is largely haptic – based on touch.
This relationship to the materials also informs my approach to structure. Because I am able to hold the filmstrip in my hands and see the progression of movement as it relates to the single frame, I have been increasingly been drawn to the mechanics of the medium as it relates to perception and optical illusion. I play with the patterns I find within the anatomy of a moving image: within the 24 frames per second. I look for rhythms, startling chance compositions, and shocks of color that confuse, seduce, and assault the senses. This exploitation of perceptual constructs, in combination with intuitive working processes, works to create a visceral language that is foreign to knowledge. For me, it is a channeling of unconscious thought and an exploration of the artifacts of experience and memory. Each work I create carries an energy that is a lens through which I can see my emotions in their most pre-logical form.