A dramatic feature shot on location in Rome. Centered around the adventures and illusions of three girls living abroad, the film explores their restlessness and personal involvements in assuming the role of woman as hunter.

Peyote Queen opens with black-and-white perforations that pulsate to the beat of drumming and escalate to light-bathed split screens and kaleidoscopic effects. Switching to lively organ accompaniment, the film pours out a stream of simple scratchings that rollick across the screen. Fish, breasts, flowers, boats, water, lips, hearts, stars—the hieroglyphs explode with color and celebrate the female creative force. The surge slows with the return of ritual drumming, this time with chanting, and a self-reflective coda. -- National Film Preservation Foundation

"I wanted badly to make an animated short and had no camera available. I did have some old, unused film stock and several roles of 16mm sound tape. So I used that- plus a variety of of discarded surgical instruments and the sharp edge of a screwdriver- by cutting, etching, and painting directly on both film and tape."

"The shape of change, the shape of memory has walked many miles in the mind to recreate a landscape, a manner of subterranean speech which may never reach its destination to the surface but roolls in the bloodstream swollen with speech invisible to the ear but palpable to the feelings that travel inside the network of the body/brain. The vision and the visitation occur simultaneously."–S.D.H.

“Third Eye Butterfly” is a double 16mm projection piece in which the two screens – at times divided within into additional “mini-screens” causing textured kaleidoscopic effects – blur to create a third wider frame, encouraging the viewers to extend their vision beyond ordinary sight - Microscope Gallery

A study of the architecture of the Jefferson Market building in Manhattan which employs quick, probing camera work and intentionally arrhythmic editing in stark contrast to the Venetian Gothic styling of the facade’s architectural details. In three brief sections, the film details the exterior windows and turrets, then, in stark contrast from within the darkened interior, demonstrates the play of light through the stained glass windows. In the final segment, the camera returns to the building’s exterior, but now its sightline is impaired by a chain link fence, possibly in an allusion to the structure’s origin as a courthouse and prison for women. The final shots focus on the plaque affixed to the exterior, which states, “…constructed in 1876 and served as a women’s court until 1932. Of particular interest are its turrets, tracery windows, ironwork and sculpture.”

This Blakean cinematic catalog of closely framed images, often representing oppositional properties such as growth and decay, or nature versus artifice, is an exploration of color and light. As the film progresses, its evocation of an exterior garden is transformed as through alchemy or magic to a darkened interior with a female form. The soundtrack’s sole feature is an unidentified woman singing the Liza Lehman song “Fairies” (based on the poem by Rose Fyleman).

A meditation upon the interior space of London’s Heathrow Airport, contrasting the ceaseless movements of the silhouetted passengers against the angles of the metal structural framing which are then replicated upon the reflective surfaces of the building’s floors and windows, rendering them as ephemeral as the human figures that pass through this nexus.

A dramatic feature shot on location in Rome. Centered around the adventures and illusions of three girls living abroad, the film explores their restlessness and personal involvements in assuming the role of woman as hunter.

A dramatic feature shot on location in Rome. Centered around the adventures and illusions of three girls living abroad, the film explores their restlessness and personal involvements in assuming the role of woman as hunter.