Malic Amalya & Nathan Hill
Collaborating since 2014 as Vitreous Chamber, we make experimental films and expanded cinema performances with electronic soundscapes. Visceral and cacophonous, our films traverse gritty landscapes of abandoned buildings, blast zones, and back rooms. Burning 16mm film, smearing Vaseline on camera filters, and hand-building A/V machinery, our practice is situated between formal avant-garde traditions, the anti-assimilation subculture of queercore, and intersectional feminist politics based in anti-capitalism and anti-racism. By lingering on minute gestures, decaying objects, and the physical properties of time-based media, our abstract images and nonlinear sequences find value in the abject, problematize implicit norms, and delve into the unconscious.
While at Headlands
While at Headlands we are going to make film and video installations that incorporate feedback loops. Feedback loops occur when “outputs of a system are routed back as inputs in a chain of cause-and-effects that form a circuit or loop.” (Ford, 2010) Working in analogue video, we will create sculptures that incorporate live, interactive feedback. Working in 16mm film, we will create film loops that run continuously through a projector and project onto three-dimensional screens that create shadow “feedback.” Visual explorations will include homo-erotic haircuts, bodies inside-out, and the intersections of white supremacy and the global climate crisis.
Selected Video Works
Towards the Death of Cinema, 2014; 16mm performance with live soundtrack; 30 min.; © Vitreous Chamber
Vaseline, 2016; 16mm with optical sound; 6 min.; © Vitreous Chamber
Eye Deconstruct, 2018; Analogue to digital video; 5 min.; © Vitreous Chamber
Magnetic Resonance, 2015; digital video; 6 min.; © Vitreous Chamber
Song for Rent, After Jack Smith, 2018; 16mm with optical sound ; 6 min.; © Vitreous Chamber