“In my film works the main focus is on impermanence, transience, and ideas of change, shifts and ‘repositioning’. Landscape and architecture that appear to be solid and permanent is experienced unstable and disorienting. In Travelling Fields I am particularly interested in the idea of geography and how it can be examined and visually reworked in the dimension of altered time and filmic space. In this work I continue to work with shifts in perspective and working with the specific qualities it produces in the image. These qualities are results of certain ways of framing and the parallax movements produced by the travelling camera. It includes architectural elements and different ground surfaces in the Murmansk region, Kola Peninsula, Russia.” (ILH 

“blue mantle was shot along the Massachusetts coast. Images include paintings by Winslow Homer and illustrations from Harper’s Weekly accounts of disasters and rescues at sea. The main musical sources are Debussy’s La mer, Wagner’s The Flying Dutchman and ‘Lowlands’, a sea shanty. Texts range from Henry Wadsworth Longfellow to Thoreau to Melville. The only cinematic representations supplementing my own footage are Edison’s 1900 A Storm at Sea and a model-size Eidophusikon (a pre-cinematic 18th-century theatrical spectacle described in its day as ‘moving pictures, representing phenomena of nature’). The 40 miles of sea between Chatham and Provincetown came to be called an ocean graveyard due to the thousands of wrecks that occurred there during a time when sea-going vessels were the primary means for “bringing man nearer unto man” (Longfellow).” (RM) 

Filmmaker and musician Samantha Rebello continues her research into the tensions between sound and image, mental and material, camera and object, film and meaning, in this unsettling fresco of tactile close-ups and indefinable timbres. “Words, concepts, things. Referencing Aristotle and manuscripts, Rebello asks ‘What is substance?’ Romanesque stone carvings are measured against latter-day beasts, seeking parity between medieval perception and a present-day embodiment.” (Mark Webber)