I have heard there is a job in cinema called the “framer”. I’ve always imagined myself employed like this: walking through life, through natural and man-made spaces, selecting precise rectangles of the world to record. Why these four edges, this perimeter, and not that? What if we moved the frame a tiny bit to the left, would this mean something altogether different, would that not be beautiful? Like Italo Calvino’s photographer obsessed, I would find that every frame does find a perfect space, a crystalline instant, and that the framing could go on endlessly, catching every inch of visual experience, every now-lost moment in time: blades of grass; waves; bricks; clouds; the muddy brown edges of the lake; dirt and dust bunnies quiet on the wood floor; tree limbs crossed in silhouette; a stringy cocoon hidden among the leaves; those awkward tender curves of tiny kindergarten knees; my own brief reflection in the mirror…

The Kuleshov Effect problematizes the act of freezing and framing images, and offers shifting framing devices and a play with pictures and their interrelationships to recall our dynamic relationship with the physical and temporal world’s ever-changing actuality. 

The drawings intercut organic, material-based abstractions inspired by the Carriage Hall’s lush green surrounding landscape with discrete narrative images. The active framing and placement of the drawings offer a playful notation of all that which is incessantly moving, shifting, and evolving.