michael alexander morris

ARK - 35mm - 7m - 2018    

ARK is a film commissioned by the G. William Jones Film and Video Collection, originally shown as a looping installation, and made from archival 35mm film prints held in the collection’s vaults. The film was installed on a looping 35mm projection system devised by the collection’s archivists. The Ark depicted in the film is intended as a stand-in for the archive, a holding place to preserve films from the passage of time and a refuge from which to repopulate the world with images.

Dallas Morning News

The Night in the Last Branches - 16mm on HD - 13.5m - 2017    

The end of the world was televised. You can find it in the archives: the planet made us vanish; our languages fractured; god was dead and the computers knew it. Change the channel and you might miss it.

This work was commissioned by Frame of Mind, a television series featuring independent film on the Dallas PBS station KERA, as part of a program entitled "Remixing the News". Artists were given access to the WFAA TV News archive and asked to create new works with the footage.

Watch on Vimeo.

Blue Movie - 16mm - 6.5m - 2015    

Blue Movie is an elegiac tribute to the late Juanita Slusher, a Dallas-based exotic dancer well known in the 50s and 60s as "Candy Barr". Footage from the stag-film Smart Alec, a film given to me by my grandfather, is used as the majority of the source imagery set to a rendition of Autumn Leaves performed by Dallas-based vocalist Lily Taylor. The song was noted by Candy Barr as her favorite to dance to, while also noting that she viewed her dancing as a form of creative expression. The silver-based emulsion of the film was replaced with cyanotype chemistry and laid under the sun to create the blue image.

This film is a companion piece to my 2010 film, Confessors.

Watch on Vimeo.

LIVE with Lily Taylor, Mckinney Avenue Contemporary on Vimeo.

Fires - Super 35mm on HD - 14m - 2013    

A wide view of the jagged line between landscape and skyscape. An arranged collection of fragments. A study in the limits of autobiography.

Fires was shot with a Lomokino super 35mm camera on the 135 format and transferred using a flatbed scanner. During the shooting of the film, difficulties were introduced by the elimination of the consumer line of 135 film. The result is a series of stories and landscapes in which objects and the memories attached to them are constantly disappearing. 

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I Can't Wait To Meet You There - Digital Video - 12m20s - 2010/12    
I Can't Wait To Meet You There
I Can't Wait To Meet You There
I Can't Wait To Meet You There

A meditation on subjective experience of public mourning and the ways recorded media affect our understanding of mortality. An elegy and a prayer for Kurt Cobain.

Watch on Vimeo.