My films are organized by systems that employ patterns using algorithmic decays. 3d virtual-imaging is made with commercial software, in my case Maya by Autodesk. Creating 3D animation is very elaborate and painstaking, and is closely related to the process of computer programming. It requires knowledge of Geometry, Trigonometry and Calculus. My films use these systems to create patterned visual structures that are nevertheless erotic and emotional.

Caress is organized around five poses of the figure and five camera positions. The figure was first created lying on a Madam-Recamier style divan and then the couch was removed. She moves from pose to pose in 500 frames and camera position to camera position, with 500 frames of pure breathing in between. The film consists of every possible permutation between these master poses/master camera positions.

In Caress, the camera slides from shot to shot over the figure, which morphs from pose to pose. Camera and figure offset from one another. The 3-channel frame acts as a box, functioning like a prison or a coffin, with the figure straining against its confines. As a result, the camera seems to caress the figure. They are both, figure and camera, locked in an embrace: camera-to-figure sex.

The poses are: a, b, c, d, and e.

The sequences are: ab, ac, ad, ae, bc, bd be, cd, ce, de, then backwards.

My films are organized by systems that employ patterns using algorithmic decays. 3d virtual-imaging is made with commercial software, in my case Maya by Autodesk. Creating 3D animation is very elaborate and painstaking, and is closely related to the process of computer programming. It requires knowledge of Geometry, Trigonometry and Calculus. My films use these systems to create patterned visual structures that are nevertheless erotic and emotional.

Caress is organized around five poses of the figure and five camera positions. The figure was first created lying on a Madam-Recamier style divan and then the couch was removed. She moves from pose to pose in 500 frames and camera position to camera position, with 500 frames of pure breathing in between. The film consists of every possible permutation between these master poses/master camera positions.

In Caress, the camera slides from shot to shot over the figure, which morphs from pose to pose. Camera and figure offset from one another. The 3-channel frame acts as a box, functioning like a prison or a coffin, with the figure straining against its confines. As a result, the camera seems to caress the figure. They are both, figure and camera, locked in an embrace: camera-to-figure sex.

The poses are: a, b, c, d, and e.

The sequences are: ab, ac, ad, ae, bc, bd be, cd, ce, de, then backwards.