Secret Machine (2008) is disturbingly beautiful. Using very precise camera movements and extremely careful visual compositions, Reynold Reynolds explores the way in which a woman encounters her “antagonist that is studying her, measuring her body and comparing her to units of space and time”, according to the artist's website. The sequences, where this woman is measured, examined, quantified and cut open, combine formal perfection with unsettling emotional effects. Unlike other artists I interviewed previously for this section, Reynold(s) is brief in his answers. His works often reflect this preference for image over words. As he confesses himself: “I am a very visual person, and I am sort of pursuing a very perfect dream-like image. I imagine that when you dream, your dreams are very perfect, there are no flaws in the 'camera movements', if there's such a thing as camera movements in a dream. Vision is always perfect and there's always just the right amount of information and everything in the dream has some sort of significance. Nothing is random.” I perceive this same pursuit in his way of dealing with my questions: always the right amount of information. Nothing left at random.

I will cut this blog post here, trying to emulate his style, and hoping that I have said enough... just enough to make you curious about the powerful, dream-like realm of Secret Machine(2008) and its creator.

(Secret Machine will be screened within the On the shoulders of giants compilation of the Panorama Program)