Photos that appear as props in movies are digitally removed from their context. All the movies where they were taken from had photography as an important plot element, i.e. Blow Up, Funny Face, Blade Runner, Terminator, Pecker, Eyes of Laura Mars, etc.
In their original context these pictures ascertained an imaginary past. In Still Films they refer to real memories – not of the events that they pretend to document, but of our experience of films.
These images inhabit an ambiguous time frame between a false past turned real, between documentation and dream. The complexity of its temporal existence is reinforced here by their presentation: between slide show, video, cinema, and photography. Between the instant, flux, and fixity of memory.