Women Cinemakers process wavers between moments of gathering and scattering throughout which we aim to identify the underlying current or essence of the work itself. And at the end of the process each of us connects to the film from a different place. This collaboration of creative minds enriches the final product, making it more complex and layered. As you have remarked once, the more we broadened our research, the more the film became personal: we daresay that Re-organization unveils the ephemeral nature of human perception that raises a question on the role of the viewers' viewpoint, inviting us to going beyond the common way we perceive not only the outside world, but our inner dimension. Maybe that one of the roles of an artist could be to unveil such unexpected sides of reality, urging the viewers to elaborate personal interpretations? When we situate an object outside of its usual context, we force viewers to observe this object differently. When we bring two objects together, we encourage viewers to consider their relationship. When we string two shots together we invite viewers to identify how they link the two. As artists we don’t feel the need to convey an unequivocal message to the world. We see the work as an invitation to communicate, and try to remind our viewers of the possibility of rethinking things, identifying new and surprising connections, observing and asking questions. We remind viewers just how subjective the gaze is. Perhaps these reminders can encourage empathy in life outside the context of film. In one scene there’s a leg wearing a shoe, inspired by the work of artist Robert Gober, which acts like a metronome. It turns from side to side in a white cube (which suggests a gallery space) and the images around it change with each tap. Once it’s placed next to a head of cabbage, another time next to Marcel Duchamp’s “Bicycle Wheel.” Once the white space transforms
into a tea table at a Syrian wedding or a landscape from a painting by Nahum Gutman. Each pairing like this causes us to perceive the shoe differently, and generates in us a new string of associations based on the relationship between the shoe and its surroundings, and the relation between its present environment and former one. At some point the shoe is shown next to a sculpture of a hand. This sculpture is then replaced by a different sculpture of a hand, and then another. The rate of substitution increases and viewers fill in the gaps to form a continuum of movement. This perceptual ability - effectively bridging the gap of individual frames in the form of continuous motion is an act of interpretation. The eye (the brain, actually) latches on to what is similar between the frames and effectively creates the illusion of continuity.