In May of 2025, over the span of three days I secluded myself in a small cabin perched above an untouched valley in Aguanga, California. There, I watched the light as it passed over me and through me. I made an attempt to “paint” with my digital cinema camera — frames that had not existed in my mind before. These frames float between more realistic depictions of the world and the impressionistic.
I approached each shot as a painter might, treating the screen as a blank canvas. Rather than producing images which act as a stand-in for another reality (i.e. an image of a tree is not a real tree), I wanted each moment of the film to exist fully on its own terms — to be a reality in itself. Finally, after auditioning many soundtracks, I ultimately chose silence — freeing the film from the associations that sound inevitably brings, and allowing the images to exist on their own, without mediation.
All the textures of life are contained in this film: longing, grappling, colors fading and emerging again, and finally, a return to silence.