| EPISODE 6: MORPHOLOGIES || A.2: NARRATIVE FIELDWORK |

Film Essay

Morphologies interrogates the thresholds at which painting begins to dissolve into objecthood—into furniture, décor, or commodity—troubling the autonomy traditionally ascribed to the medium. The collage series navigates the slippage between formal abstraction and functional design, raising critical questions about when and how painting is subsumed by the logics of capitalism. In this entangled zone, surface becomes utility, and aesthetic gestures risk absorption into lifestyle culture. Filtered through the lens of parametric architecture and reified in physical objects, the works engage a language of modularity, repetition, and algorithmic precision, further complicating distinctions between image, object, and structure. Morphologies asks not only what a painting is, but what it does—how it circulates, performs, and conforms within systems of taste, consumption, technology, and display.

Act

Act 2: Narrative Fieldwork | Agile Cinema® situates itself within the unstable terrain of cultural historiography, echoing Phil Graham’s reflection on the impossibility of fully capturing the present: “a first rough draft of history that will never really be completed.” In this spirit, Agile Cinema®’s interviews and micro-films operate as polyvocal, multi-channel, and time-based interventions—advertising campaigns in form, yet refusing the extractive logics of conventional media circulation. Rather than instrumentalize subjects for content, these works unfold through durational engagement—three months to a year of building trust, solidarity, and shared authorship with artists, curators, musicians, scholars, and cultural practitioners. The result is not reportage but relational media: slow, dialogic, and reflexive. At its best, the process becomes cathartic—an act of mutual recognition, wherein individuals are seen and heard on their own terms, yet reframed through the speculative lens of cinema. This practice stands in direct resistance to the hyper-accelerated economies of content production and consumption—what might be called the wham-bam churn of digital capitalism, which flattens attention, bodies, and meaning into disposable units of engagement. Against this backdrop, Narrative Fieldwork asserts the radical potential of slowness, presence, and co-authorship: a counter-cinematic gesture that insists on the dignity of process over product, and the irreducible complexity of human narrative over algorithmic simplicity.

Information

Double-Sided Collages | 4 x 4″ | 8 x 8" | 20 x 20" | 36 x 36"

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