Almost all works by Luther Price are handmade films, films that put together from the remnants of other films. In the industrial age, handcrafted stands for un-machine-reproducible care and working directly with tiny film frames is, in fact, reminiscent of science lab work. With the larger format of projection, however, these artistic compounds develop a rough, destructive force. Glue, Luther Price's main material, flows over the pictures, and together with the original image information creates an uncanny new third entity. His radical handling of the material precludes a particular sensitivity to his protagonists, whether they were Price’s family or just found images. The sadness of life’s transience corresponds to the film material, which both as a physical copy and as a medium is in danger of disappearing. Price emphasizes the re-transformation of the mechanically reproducible into the handmade in another way with his found materials, he always collects multiple copies so that he, just as in the digital age, could use each recording more than once. The results, however, are originals, and every screening degrades them a little more, and this means it could be, if there were a mistake with the projection, their last.

Jelly Fish Sandwich, Luther Price, us 1994, 17 min
Home, Luther Price, us 1999, 13 min
Inkblot #1, Luther Price, us 2007, 7 min
The Biscuit Day, Luther Price, us 2007, 13 min
The Biscuit Song (Inkblot #11), Luther Price, us 2008, 9 min
A Consumption in Time, Luther Price, us 2012, 8 min

Artist will attend Q&A