San Francisco-based Nathaniel Dorsky continues to refine and vivify his personal cinema syntax with Variations (1992-98), which “blossomed forth while shooting additional material for Triste (1974-96). What tender chaos, what current of luminous rhymes might cinema reveal unbridled from the daytime word? During the Bronze Age a variety of sanctuaries were built for curative purposes. One of the principal activities was transformative sleep. This montage speaks to that tradition.” (N.D.) Dorsky also writes: “Silence in cinema is undoubtedly an acquired taste, but the freedom it unveils has many rich rewards…It is the direct connection of light and audience that interests me. The screen continually shifts its dimensionality from being an image-window, to a floating energy field, to simply light on the wall.” Also: Pneuma (1977-83).