ROTATING MIRROR is a cycle of 14 short films made from a process where impromptu Super 8 footage was shot every day for one year. The year took place between birthdays, so the project is a personal journey and reflection on life through multiple settings and situations. It is a distinctly imagistic art film, and its production was supported by grants from the Jerome Foundation, Angels Net, and the Flicker NYC Film Festival.
Members of the band RACHEL’S composed the music and sound pieces that accompany the chapters. Special note: the project contains unreleased tracks by the band (info below), and new solo works by Rachel Grimes and Jason Noble (as Per Mission):
Chapter Track Composer(s)
• Prelude • ‘Variegator’ Jason Noble/Per Mission
• City of Trees • ‘F# Slow Chords’ Rachel Grimes
• Night Set • ‘Printed on Glass’ J. Noble & Edward Grimes/Per Mission
• The Lesser Light • ‘Significant Others #5′ Christian Frederickson & J. Noble/Rachel’s
• Continuum • ‘Significant Others #3′ C. Frederickson & J. Noble/ Rachel’s
• Forced Landing • ‘Wind Up Bird’ C. Frederickson/Rachel’s
• Rehearsal for Spring • ‘A-flat Theme’ Rachel Grimes
• A New Psalm • ‘Scordatura’ C. Frederickson/Rachel’s
• Silent Retreat • ‘C Major Spatial Chords’ Rachel Grimes
• 33 Years • ‘A French Gallease (orig. version)’ J. Noble & R. Grimes/Rachel’s
The film is available on DVD through this website. The packaging was custom designed by Brady Vest at HAMMERPRESS in Kansas City (www.hammerpress.net), and letterpress-printed in a limited edition.
The impulse behind Rotating Mirror involves a coincidence I discovered in college. I noticed that the number 33 emerged in various ways within my life, either directly or in ‘hidden’ ways, such as the sum of the numbers in my birth date. After several years of finding it in some remarkable situations, it felt like a comforting thread coursing through my life, binding both social and private moments, to the extent that friends knowingly reacted to it as a sign of some mysterious affirmation. As I approached the age of 33, I was compelled to create something that addressed this phenomenon, which to my mind required a process possessing both intentionality and the element of chance.
I therefore set myself a task: for one year, between birthdays, I would film at least one subject every day, but without planning ahead of time what I would shoot. To have the camera with me at all times, consequently, demanded a new way of seeing, of thinking cinematically about ordinary life, and reacting to the sensation that a visually parallel ‘narrative’ was accumulating.
The result is a contemplative work that, although born out of an esoteric creative strategy, hopes to inspire the viewer to make their own associations and readings, to consider the meaning of time and place on both cosmic and intimate scales (e.g. our orbit of the sun vs one’s definition of home on earth), as well as the grid of contemporary life through a weave of urban and natural settings. As such, it positions the mundane against a celestial context, so that one may experience a unique angle of beauty within both. Seeing the personal in the infinite and vice versa, so to speak, and remaining open to the sensory ‘story’ that unfolds.
Ultimately the work takes the position that a person’s life is always significant, and possesses an ineffable beauty hidden through its own particular labyrinth of events, both large and small, which demand creative attention, spiritual reflection, fascination and resolve.