Deep Hearts is a film about the Bororo Fulani, a nomadic society located in central Niger Republic and the title is a reference to an important aspect of these people’s thought and demeanor.

Fulton made the film during his brief time at Harvard, where he had been invited to teach by Robert Gardner, his friend and collaborator (Fulton would later serve as a cinematographer on Gardner’s 1981 documentary Deep Hearts, among others). Reality’s Invisible could be described as a portrait of the Carpenter Center, yet it is a portrait of an extremely idiosyncratic and distinctive sort. Fulton moves us through the concrete space of the Center’s Le Corbusier-designed building—the only structure by the architect in North America—but, more centrally, presents us footage of students making and discussing their work alongside figures like Gardner, theorist Rudolf Arnheim, artist Stan Vanderbeek, filmmaker Stan Brakhage, and graphic designer Toshi Katayama.

Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen.

In PATH OF CESSATION the image that is communicated to us by Fulton is a highly mystifying one. Rather than analyze, or enter into a dialogue with the Tibetan culture that he photographs, Fulton has succumbed to it, and through the process has presented us a work of great surface, as well as formal, beauty.

Challenges; mental, physical, both? How far can you go? How fast? What’s it like to go three days without food and companionship? To run 15 miles, to climb a 14,000 foot mountain, to navigate in dense forest or open ocean, to rappel down a vertical cliff, or sleep in the snow? Teenagers find out in Outward Bound Schools throughout the country. The result is a positive sense of self and the natural environment. The film is fast paced with intentional disregard for time and space continuity. The students tell the story.

Rapidly changing images of natural objects, scenery, animals, plants, and people flicker, flash, tumble, and cascade across the screen. Running Shadow is Fulton’s most dizzying and vertiginous film, in full demonstration of the gyrating flight simulating body-weight balance camera arm as eye he perfected. The landscape where he fully indulges in twists and turns becomes alien, with crashing waves on the soundtrack letting us know that nature always comes out on top.

Filmed during the months of June and August 1984 in the Glen Canyon National Recreation Area, Mesa Verde National Park and the Navajo Nation. This program reveals scenes of the lushness of California's summer accompanied by the music of Windham Hill artists, William Ackerman, Alex de Grassi, Mark Isham, Shadowfax, and Liz Story.

Nature, gymnastic movements, a cat...

Glen Denny observed: "This film is not ocean, it is panther stalking jungle." Camera flows because it is free to move through space.

Fluidity of stone. Subatomic motion asserting a surface. Mind loop wandering. Visitation of sound matrix. Liquid solid. Nature transforms a planetary cycle. Relations of a timeless void.