After Timothy's plight didn't turn out so well (see The Saddest Boy in the World), I thought I'd try my hand at a new disenfranchised child. Aaron sings in choir, watches soap operas and sleeps with the nightlight on. Can hypnosis solve the mystery of his missing friend?
The New York Times said: "With passionate stories of suburban woe and obsession played out against surreal, hyperdesigned backdrops, Mr. Travis's films feel a bit like a mixture of work by David Lynch and Douglas Sirk."
The world has conspired against poor Timothy Higgins and he has no choice but to hang himself. Always the dramatist, he chooses his own 9th birthday party as his stage. If you find this funny, good. If you're offended, it's okay—our paths were never meant to cross.
The Torontoist said: "A miniature masterpiece. The self-explanatory story is a wonder, and if Jamie Travis isn't the next big thing we'll be entirely gutted."
Finding your way can mean losing your mind in the process…
An isolated elderly woman, in desperate need of stimulation, conjures an infestation of silk-spinning caterpillars, thus leading her to a mind-bending epiphany.
‘Caterpillar’ is a cerebral drama, filmed in the historical Wynkoop House, famous for housing George Washington. The crew consists of highly esteemed artists working across a wide spectrum of disciplines. This includes special effects artist, Ben Bornstein (300, The Fighter), visual effects artist Greg Silverman (Black Swan), and editor, Corey Bayes (Birdman, The Knick, Contagion). From storyline through production, Caterpillar is an ode to the creative process. This film is a must-see for anyone who has ever submitted to their imagination and felt transformed by an idea.
Our Summer Made Her Light Escape is a wordless,16mm portrait of interiority, maternal ambivalence and the passage of time. It explores quotidian allurements and cruelties: a crippled bee, a mole in its death throes, a smashed robin’s egg.
Born in Brooklyn in 1968, Sasha Waters Freyer is a moving image artist creating "a cinema of opposition [through a] spirit of engagement with earlier, radical-romantic image making. My experimental and documentary films have featured dominatrixes, coal miners, artists, children, populist poets and rural activists – outsiders, in short; inhabitants of the critical margins of our world that are, in the words of Wendell Berry, ‘always freeholds of wildness.’
Sasha Waters Freyer's films have screened widely in the U.S. and abroad, including on PBS and the Sundance Channel, the Telluride, Tribeca and Rotterdam Film Festivals, L.A. Film Forum, the Gene Siskel Center and the Film Society of Lincoln Center, and have been reviewed in Variety, ArtForum, The New Yorker and Mother Jones, among other publications. She is the Chair of the Department of Photography & Film at Virginia Commonwealth University in Richmond, VA.
In ruins, we rebuild with memories buried in the foundation, 10 min., 3 channel digital video from super 8 and 16mm, b/w with sound, 2006
audio by Daniel Coughlin
Streams of people with holes burned in them rising from subway stairs and escalators in London, Paris, Beijing and New York is combined with images from nature of migration, destructive forces and chaos. Cyclical and perpetual, we go on.
Originally shot on super 8 mm film, the final form of the film is 3-channels on digital video. During this process, some of the footage was transferred to 16 mm on the optical printer then burned with a soldering iron to create melted holes in the footage. This film was an installation, in which each image was projected at 7' x 5' on freestanding rear projection screens that were in the center of the gallery space with a third circular projection on the wall.