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More tactile, sensual and emotional, Reeves creates a rich, enigmatic texture of black and white and colour, superimposing images of landscapes – a black bird flying over woods in winter, ducks on the beach, flowers in close-up, a military cemetery, the grey streets of New York – with each other and with abstract-expressionist designs, opening up new spaces of vision, in which unspoken metaphors are lurking.
Given the current political context, I kept seeing war explosions, interlaced with the smiling face of a young man advancing toward the camera before walking away into… Moody and nostalgic, the film suggests the seductive mysteries of our internal landscapes, the elusiveness of memory, the irretrievability of loss: maybe the end of a romance, the sorrows of war, or the erosion of time…
The film opens and closes on two trees standing in an open landscape.
First the screen is dark, the black sky illuminated only by pale stars, and then slowly light creeps in: one can see the contours of the objects, the branches of the trees, and finally flamboyant colours at the horizon, as the orange sky is rising; the last shot is a reverse of this process.
constructs an elusive narrative in the mind of the viewer, as the two screens compete for attention by montaging found footage from vintage science education films with purely abstract images in spectacular, radiant colours, the film emulsion being reworked by the application of pharmaceutical substances.
Jumping into multiple-screen multi-media performances was an almost-natural extension of her work – at least one that made sense.