The Storm in the Morning is an autobiographical film. It blends digital, natural, and cultural worlds to build a multidimensional narrative where memories, languages, and images work together to navigate and reconstruct my personal experience and perception. By returning to the tradition of remembering in classical Chinese literature, I aim to create new dialogues or connections between the experience and memory, languages and images, the present and the past.
Watch the official The Storm in the Morning 2018 trailer in HD below.
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Prelude 10 is a double-printed film with an extreme mixture of darks shot thru with jewel-like bursts of color, and very white bursts of light and fleeting colored forms.
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.
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.
Prelude 14 begins in deep brilliant red which darkens into deeper reds and lavender shapes, disrupted by a variety of colors settling into browns and grays and shapes most rock-like, all of which is then shot-thru with sufficient yellow to break up all hard-edge form and give a molten aspect to the mixtures of shapes.
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