Solo Exhibitions - 2000, February. Brooklyn Babylon Cinema. NYC, NY. - 2000, August. The Blinding Light Cinema. Vancouver, Canada. - 2000, September. The Whitney Museum of American Art. NY, NY. - 2001, March. Cal Arts. Valencia, CA. - 2001, March. Squeaky Wheel Cinema. Buffalo, NY. - 2001, April. The Pleasure Dome. Toronto, Canada - 2002, February. San Francisco Cinematheque. San Francisco, California. - 2002, March. The Block House Theater. Portland, Oregon. - 2002, December. Four Walls Cinema. Portland, Oregon. - 2003, March. Hampshire College. Amherst, Massachusetts. - 2003, June. Jefferson Presents. Pittsburgh, Pennsylvania. - 2003, June. Chicago Filmmakers. Chicago, Illinois. - 2003, November. Olympia Film Festival. Olympia, Washington. - 2004, February. Pacific Switchboard. Portland, Oregon. - 2004, March. Reed College. Portland, Oregon Group Exhibitions - 1998, July. "August 1997, Greenpoint, NY" . The Robert Beck Memorial Cinema. NYC, NY - 1999, April. "The Big Film Series". The Robert Beck Memorial Cinema. NYC, NY - 1999, May. "The Big Film Series". Time and Space Gallery. Hudson, NY - 2000, November. "HUH". Mix - NY Gay and Lesbian Experimental Film Festival. NYC, NY. - 2001, May. 'The Big Film Series'. Intermedia Arts Center _ Flaming Film Festival. Minneapolis, MN. - 2001, November. 'The Finer Shades of Exertion'. Mix- NY Gay and Lesbian Experimental Film Festival. NYC, NY. - 2002, September. 'Big Film'. PENUMBRA: Artist Television Access. San Francisco, CA - 2003, April. 'The Big Film Series'. Movies With Live Soundtracks. Providence, Rhode Island - 2003, August. 'The Big Film Series'. My House. Eugene, Oregon. - 2003, October. 'The Big Film Series'. Core Sample: Capture and Release Film Screening. Portland, Oregon. - 2003, October. 'Tableaux Vivant' Core Sample: An Exhibition of Contemporary Art in Portland, Oregon. Mixed Media Tableaux Vivant. 2003. 69 ft by 29 ft. Two hundred and twenty two 35 mm film strips Illuminated by three 16 mm projected film loops. This film installation is comprised of color reversal filmstrips from the motion picture film of the same title. A vast collection of contemporary landscapes and portraits of Portland, Oregon, this installation explores the physical presence and sculptural qualities of motion picture film. Tableaux Vivant is an ardent meditation upon the boundaries between photography and motion picture film. Filmography - Grieg Farm, Red Hook, NY. 1997. 16 mm, B&W, silent, 9 minutes. Hand processed. A intimate portrait of the disappearing agricultural landscape of the Hudson Valley. - August 1997, Greenpoint, NY. 1998 16 mm, B&W, silent, 8 minutes. A hand Processed film portrait created in the tradition of city symphonies. The kinetic movement of the film emulsion has replaced the frantic motion of the city. This film is a wistful meditation upon the obsolescence of the urban industrial landscape; their decaying and antiquated features are captured with faltering grains of silver nitrate and straying electrolytes. - The Portland Movie. 2000 16 mm, color, silent, 7 minutes. A travel diary of my first visit to Portland, Oregon and a tender exchange of color ektachrome love letters The Big Film Series: A collection of 35 mm hand processed film portraits, shot and projected using An early motion picture hand cranked camera and projector. In these performative film screenings, Lee Krist operates his projector among the audience rather than anonymously from an isolated projection booth, creating an intimate screening experience reminiscent of the dawn of cinema. Traditionally these screenings are silent but some screenings have live musical accompaniment. - Twoness. 1998 35 mm, B&W, silent, 200 ft. Twoness is the first film created in the Big Film series. These early camera tests were experiments in filming continuous motion with a 35 mm hand cranked camera. A cinematic exploration of the various ways motion can be reproduced when the camera's recording speed is variable. - Willa. 1998. 35 mm, B&W, silent, 100 ft. The first of many portraits in the Big Film series, which focuses upon the subtlety of movement. - Pea Green. 1999. 35 mm, color, 80 ft. A color landscape portrait of home. - Self - Portrait. 1999. 35 mm, B&W, 45 ft. Filming this portrait was like a railroad. Self - Propulsion moved by parallel speed. - Susannah. 1999. 35 mm, B&W, 70 ft. Through various photochemical manipulations this portrait explores the movement potential of photographic film emulsion. A study of the ephemeral nature of film stock and friends. - Killer Diamonds. 2000. 35 mm, color, 60 ft. A portrait of a dear friend. - Huh. 2000. 35 mm, hand painted color, 80 ft. A portrait of a professional model, this film just barely makes it into the moving picture category. - The Finer Shades of Exertion. 2001. B&W, 100 ft. A filmic exploration of gesture and movement through capturing dance on film. - 1083. 2003. Color, 80 ft. A Self-Portrait of me in my home sweet home. - Tableaux Vivant. (W.I.P.). Color, 300 ft. A series of portraits and vignettes shot in Oregon, with a variety of still cameras this body of work attempts to reunite motion picture film and photography long lost companions that were separated at birth. Film Workshops - 1999 -2002. Bard College. Annandale on the Hudson, NY. Led a workshop in Color and B&W 16 mm reversal film hand processing and contact printing. - 2001, April. Lift Film Cooperative. Toronto, Canada. Led a workshop in 35 mm B&W negative hand processing and contact printing, with a focus upon creating and layering B&W photographic emulsion. - 2003, January. Flicker Film Workshop For Teens. Northwest Film Center. Portland, Oregon. Led a screening and a workshop on graphic film production. Using old 35 mm film trailers students experimented with a variety of camera-less film making techniques: scratching, spray-painting, bleaching, stenciling, and drawing onto film. - 2004, March. Reed College. Portland, Oregon. Experimental Film Workshop. A workshop on shooting and hand processing B&W 16 mm film. - 2004. March and April. Lift Film Cooperative. Toronto, Canada. A series of two workshops on experimental film and animation techniques. Emphasis will be placed on acquiring a working knowledge of the oxberry optical printer, collage methods of animation, and rotoscoping. Rotoscoping is a traditional animation technique in which animators trace the outline of an object or character's movements through previously recorded motion picture film. Awards - Black Maria Director's Citation Award for " August 1997, Greenpoint, NY" -Finishing Funds 2004, Experimental Television Center Education Bard College, Annandale on Hudson, New York B.A., May 1999 Concentration in Film Production