lou anne colodny
Change, 2000, 00: 01:40 minutes, per revolution
Both humorous and haunting, this video explores transformation and metamorphosis. The beginning sequence is a close-up of eyes blinking in slow motion. Action is accelerated through a progression of still shots, which are transformed through the painterly addition of color. The figure appears to be choking on the color only to be totally consumed. The sequences repeat with an overlay of color. The sound adds an amusing yet weird sense to this mysterious video.

in the negative, 2000, 00:01:09 min, per revolution
Mysterious and brief, this video explores identity and physical, emotional entrapment. A woman seductively shakes her head uttering "no, no, no" in the opening frames of the video. The tone suddenly changes. Her face mutates from creature to woman as she is looking into or out of, an entrapment. This eerie atmosphere is further heightened by sounds, which move from recognizable verbalization to silence, to an icy and desolate wind. Her future is sealed as she is finally isolated and caged. Why is she here? What caused her entrapment? Is it real or imagined? The video is purposely ambivalent forcing the viewer to make his/her own assumptions.

Perchance, A Dream, 2000, 01:37 minutes, per revolution
Benignly staring into the distance, the individual in this video is pleading for "help" in a cage like-environment. The sounds suggest a dreamlike state but as the video progresses this comes into question. The mantra "help me" and a strange high-pitched wail are continuously heard as a jailer of thought and action paces and advances aggressively toward the trapped figure. Choking with fear, the person gasps for air, pleading for aid, only to collapse with head in arms at the futility of the plea. Dream or reality? That is for the viewer to decide.

i like you, 2000-2001, 00: 01:48 min, per revolution
The aged woman talking to the camera is grappling with feelings of isolation and loneliness in our society. The woman desperately wants to like the viewer and be liked in return.

breath, 2000-2001, 00:58:20 minutes per revolution
Created as a component in an installation of the same name, breath heightens the feeling of anxiety and fear as one is entrapped in a plastic container. The sound resounds throughout the installation containing 12 plastic pods suspended from the ceiling. The room is lightly lit and the video flickers from two small monitors located on the floor within the plastic pods. video stills available

huh? 2004, 00:00:58 per revolution
Huh? is an experiment with the ideas of chance as proposed by the late John Cage. Raw footage was broken into three uneven segments (without looking at the footage). The artist then divided the segment into many parts ...and lengths. With her cursor she selected one video effect in Premiere and used in on each of the segments using different % of the effect (which was in retrospect, the mirror imaging tool.) The segments were shuffled and replaced in a new sequence. The artist recorded varying vocal sounds and then again, cut and reshuffled them, placing them beneath the images on the timeline without having seen the new random arrangement of all the parts. What emerges is a small abstract piece created randomly. Source material: Super 8 film from family archives from the 1950s.

gottcha! 2006, 00:01:53 per revolution
gottcha! is from the artists' new series about a cloned society. This footage originates from a 1950's 8 millimeter film of the artist performing a dance routine and roller skating on her front sidewalk. The images have been digitized and pushed into a mirrored image creating a cloned persona and environment. Feet scramble and the figure tumbles through strange spaces. Some of the actions become rather erotic although gender is unidentifiable. Gottcha refers to the cloning and the attempt for the cloned figure to find a place of repose, but it is on a roller coaster ride. It can't stop. The artist's exuberant screams and created sounds enhance the speed of the dancing and falling figure as it continually skates to other fantastic spaces. The figure squishes and spouts and taps out a new existence in its new cloned society.

the nature of man, 2007, 00:02:58 per revolution
The nature of man video was created using random images from scanned photos of the limbs and faces of professional ballet dancers. They were collaged with imaginary forms to create animation which, by design, is crude in light of new technological advances. This animation reconstructs the "nature of man and love" as related by the Greek philosopher Aristophanes in Plato's "Symposium of love". Aristophanes claimed that the sexes were originally three in number: man, woman and the union of the two which was Androgynous. They were incorporated into one body which was round with two heads, four arms and four legs. Man could walk upright and roll over and over at a great pace. He originally entertained the gods, but eventually became so enamored with himself that he destroyed their temples. The angry gods debated whether to destroy man and Zeus despaired. Finally he said, " Me thinks I have a plan which will humble man's pride and improve his manners; man will continue to exist but I will cut him in two and he will be diminished in strength and increase in numbers. " This satisfied the rest of the gods. Zeus severed man with his thunderbolt creating two individuals: man and woman. They longed for each other and felt lost. There was emptiness within each, so the gods gave them the ability to love. Man, however, was forever destined to a life of continued longing for their completed selves.

goin' to the dogs, 2008, 00:02:36 per revolution
This footage originates from a 1950's Super 8 millimeter film of the artist, her dog, brother and cousin as they played in the yard in Denver, CO. and Joplin, MO respectively. The footage has been digitized and pushed into a mirrored image creating a cloned persona and environment.

wiggle, waggle and wave, 2009, 00:02:36 per revolution
wiggle waggle and wave was created for the Dog Tales show at the Miami-Dade Library, Miami, Florida. The protagonist of this video is the tail of my dog SLYDER as she investigates the grounds of the Walker Art Museum. The work was created by layering video of Slyder's tail which had been masked out of its background, frame by frame, and placed over footage of the Minneapolis Sculpture Park near the Walker Art Museum. The music is from WILD MAN BLUES, track 4, Woody Allen Quartet. Also shown at the Hollywood Art and Culture Center, Florida.

2042, 2008, 02:22:28 per revolution
The year 2008 AD has long passed. One who remembers that period realizes the enormous changes that the earth and our people have undergone.

442, 2007, 04:42:00 per revolution
442 shows choreographed movements for hands which create mesmerizing, hypnotic imagery bringing awareness of the body's power to convey messages by their placement in space and the force and ways they move. The hands become transformed so that they lose their topicality and move into areas of symbolism and abstraction. They take on a persona of their own; perhaps a new biological being which survived, morphed or developed after a horrific change in the environment or the conditions of society. The title represents the length of the video and is meant to be ambiguous.

The Crook, filmed in Super 8 in 1952, digitized 2004, 02:39 minutes per revolution
The Crook was filmed alternately by Mike Levinson and Lou Anne (Levinson) Colodny as a homemade movie in the 1950s. Lit by a singular light bulb, it takes on a grainy appearance reminiscent of old, disintegrating movies. It was intended as a silent flick, thus requiring the placards. The story is a simplified one, with the acting totally spontaneous. Lou Anne Colodny digitized the film in 2004, added the soundtrack from Scott Joplin (appropriate since this was filmed in Joplin, Mo.) and made slight alterations in timeline.
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