Jodie Mack: Let Your Light Shine
Through a juxtaposition of static images (almost like photographic stills), textures, and colors, Jodie Mack powers her work through a careful examination of how both sound and invented versus movement in actuality can illuminate space, perspective, and time— especially in regards to a post-psychedelic arena. As an artist myself, I admired how the tactility of Mack’s labor (creating her images through collage and composition) boldly seeped through the skin of her film, as an aesthetically powerful, design-oriented, visual statement. This, to me, is the definition of true art: art which clearly presents itself as technically complex as well as conceptually fascinating, which, in this case, is built upon her personal experiences, narrative, and memory.
In the first projection, “Let Your Light Shine,” I was most propelled by the instance when the timing of the frames in the film started to speed in such a manner the sequence became chaotic. This is when I started to feel uncomfortable, and at the same time, enjoyed this very experience— it was almost as if the heightened speed evaporated the independence of each shot, creating the illusion of multiple shots of fabrics and textures over layering one other until opacity and transparency started to seem like an effect, although it clearly did not exist. Creating these effects through just speed, color theory, and arrangement was simply phenomenal.
In “Dusty Stacks of Mom: the Poster Project,” Mack transformed the history of her family’s simple poster business into what became a universally-applicable political and sociological satire. By giving objects persona and bringing them life through harsh animation, the subtle musical accompaniment was almost jarring: herself, singing the story of her family’s poster business like a disarming and humorous love song, until it transitioned into a hard-rock recreation of Dark Side of the Moon. As Mack described near the climax of the film “the color becomes orgasmic,” I can definitely say this was when I was so involved in the visual elements of the film I felt hypnotized, and almost paralyzed.. Even in the final reprise of “Let Your Light Shine” (which required prismatic glasses), I was astonished at how a simple, monochromatic, visual energy could be turned into such a hyper-sensitive resonance of infinite colors, which, in effect, bounced off the screen and into space. Even after the screening, I walked out of the theatre with my eyes dazed, still hallucinating the shapes and colors Mack projected in her films, and this was an unforgettable experience.