“The Occidental Hotel is a “city” film—I was inspired to emulate the Surrealists’ sense of wandering, of flaneury, of the way a hotel and its rooms is a temporary resting place inhabited by many many people, a shared public/private space. I am interested in a creative geography of the city I've constructed. For instance, the front of the hotel is from Berlin, its interior was photographed in Copenhagen. The film offers the elliptical “scent” of espionage films (largely because of its Berlin locations) and offers that genre’s lubricating sense of voyeurism, danger, and sexuality. My source materials are Mexican comic-book figures, and these urban photos I snapped on my honeymoon with my wife Janie Geiser in the summer of 1996.” —Lewis Klahr
The ocean, the trees, the varieties of cityscape and landscape assert themselves as "pictures", but the images are essentially a wash and tangle of nervous feedback, sometimes influenced by the colors of inlet waters, sometimes the wave movements, but more ordinarily by the cellular shifts and shapes of the optic system receiving exterior imagery.
CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins.
Glen doesn't dare tell his fiancée Barbara that he is a transvestite known as Glenda; in addition, Alan is undergoing medical treatment to become a woman named Anne; both stories are told by a psychiatrist.
Turquoise and maroon-toned thin lines of paint are interspersed with variously toned circular "watermarks" of blotched paint giving-way to multi-colored brush strokes and finally fulsomely darkened and thickened brush-strokes which then thin to something akin to the beginning.
Interplay of mostly horizontal lines inter-woven with "watermark" forms in a wide variety of tones which gradually tend to dissolve into blues at the end.
Many white interruptive frames and absolutely straight-edged multi-colored lines amidst "clouds" of color, finally thickened into blobs with lengthy white (clear leader) spacing between them.
Much depth of multi-colored thickened shapes which appear to be superimposed upon each other, semi-transparent in their "weave" with each other which is increasingly interrupted by ragged-edged blobs and smears of color.
Interplay of toned rectangular shapes, vertical and horizontal and diagonal lines in juxtaposition with hardened darker shapes which gradually shift tone and lighten until ending on thin blues.
This section is very similar to Prelude 4 except that it is composed of extremely thin-lined colors and sharply delineated shapes which are constantly interrupted by "cloud"-like forms.
Something strange has been spotted over the tree tops in the forest where Charlie Strap and Froggy Ball live, and Plåt-Niklas quickly builds a monocular to examine it.
...again, is "plein-aire abstraction" as defined above (painted in New York City) – with, for example, even a correctly toned green impression of The Statue of Liberty – and, then, impressions of Toronto with its architectural particularities appearing, midst hurrying people – shapes (almost as if photographed at times).
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Have you watched The Occidental Hotel yet? What did you think about it?
