“Like any worthwhile piece of art, Left-Handed Memories can be read several ways. Images of frames and framed materials recur. Pages of a dictionary flip by, and it is here that the viewer can see a reference to Will Hindle. Entry words echo his film titles - Billabong, Chinese Firedrill etc. A soft-focus female nude, reminiscent of an Edward Weston photograph, becomes increasingly scratched as the footage runs, a memento mori of the plastic material itself. Much, the film tells us, is beautiful, and much will be forgotten.” (Tom Whiteside)

“I made Private Property (public domain) right before I moved to Chicago. It attempted to examine the effect postmodernism was having on life in very personal terms. …it was a work that was created many years before the digital revolution and the Internet… and now it seems to exist only as a liminal indicator. But at the time, I took the exploration seriously. I knew the first printing was lacking and needed additional work. Something was missing but I couldn’t put my finger on it. I would finish it in Chicago."  

“[What was missing from my film] was a ‘masculine’ current to add balance to the ‘critique’ about the particular culture/personal moment I was portraying. I had created a very ‘feminine’ space and it just wasn’t working. I asked [Zack Stiglicz] if I could record him reading the common and Latin names of seashells. He agreed."  

“It was the addition of this layer of sound in Private Property that snapped the piece together for me. I ‘dismantled’ the common names of the seashells and placed them in dialog with the main voice-over and so the lyric command of the names splintered and lost both their power and beauty. This strategy did not create new meaning… it merely commented on what was there… a hollow echo. Even the ‘scientific’ Latin names seemed empty and insignificant. It was just as postmodernism had predicted and delivered. All symbols and voices of authority lost their influence. All ‘grand narratives’ were coming unraveled. Even a simple story could only be cobbled together with lines borrowed from other texts and sources. All of the on-screen text in Private Property is plagiarized or paraphrased… as is much of the spoken narrative. Additionally, the ‘main character’ in the film slips in its reference… the spoken text refers to ‘she’… the written text declares ‘I’. In short, it’s not even clear whom the film is about."  

“My question was how to put meaning back… how to self-define in a time that had turned things to rubble and then created either unnecessary caution or superficial ‘copying’. Perhaps… that’s still my question.” (MF)

“…there was a point when I thought that perhaps I could be a filmic poet. I would utilize someone else’s words and spin them in a new direction with the addition of my visuals. It was from this simple grounding that I made devotio moderna.” (MF)

“Life/Expectancy meditates on a woman’s midlife search for meaning. In order to find ‘her own story’ the woman feels – in every cell of her body, to risk a cliché, – that she must find a code of memory that lies beyond herself, something that also involves a code of cultural value. The Misfits, Intolerance, Sunset Boulevard and Lady from Shanghai emerge as selected film narratives and tales from the larger culture that draw her in. As a visionary artist, she must excavate these works on her own terms. She recreates brief, captivating segments from the films in order to isolate the emotional core and fundamental impulse of storytelling that she is convinced these fragments bear. As the project unfolds, the woman finds herself necessarily drawn to other fragmentary visual frames: thorns on rose stems, light passing on the dining room floor, flip books, a film projector, bodies darting in public space, the blankness provided by a fresh snow. Drawn to these external reflections of her own demons and their uncanny power to blend inexplicably in ways that subvert and defer symbolic expectations, the woman realizes that there are no grand narratives that work for her and that the heart of midlife resides for some wanderers in glimpses of stories that refuse to be told or, apparently, in ‘footnotes’ that survive the loss of the tales with which they were once associated. This is what she has now – vibrant footnotes to life and nothing more. However, in these drifting remains with their curious capacity to blend experimentally with one another she discovers the means to sacrifice the beating warmth of a sentimental heart and to replace it with a guarded, harsh and eccentric wisdom that gives new form to the psyche."

“Life/Expectancy is a fiction. It is a non – fiction. This film is an essay. It is a bad…but beautiful… dream. This film is an experiment in poetic form. It is personal. It is about no one. Cinema is the core of exploration and it is cinema that has left her trace in a moment already gone by the time it is seen. Can a medium experience a mid – life crisis, or at a hundred years old, is she left only to curse her offsprings and die?”