Departures

“I discovered how beautiful things look through the camera… A melon or dirty dishes, seen with a lens in close-up were translated into something else… The camera became like binoculars; you zero in on a small area and isolate it, and it becomes more precious because it’s selected.” (Holmlund, 78)

Contents

Schmeerguntz, 1965 (15′):son, b&w; 16mm

My Name is Oona, 1969 (10′):son, b&w; 16mm

Take Off (with Magda), 1972 (10′): son, b&w; 16mm

Moon’s Pool, 1973 (15′): son, coul.; 16mm