This turgid potboiler was made with my class at the San Francisco Art Institute. It steam-rolls a series of overheated episodes to a colorful climax of redemption and moral rectitude.

George Kuchar experimented with in-camera editing effects more and more in his later career, and Snapshots is no exception.

A winter chill sets in making the furry residents of various dwelling places a center of affection and reflection. The images conjured up are steeped in a twilight worthy of polar pinpoints in the grip of glaciated gloom.

Clouds abound in this short meditation on vaporous masses that flow across the borders of our windowpanes, leaving in their wake the wreckage of discarded diets and sugar coated emptiness.

A weather diary of sorts where my mouth is pretty much shut but the window is wide open to various cloudscapes and local color tinged with a twang.

A trip to Las Vegas and a hike down a red carpet of star trodden footprints highlights this glimpse of glamorous glitz as flash bulbs pop to ignite titans of tinseltown as they rub shoulders with brethren of lower voltage.

In Xmas 1986, George Kuchar’s mother Stella has come to stay with him for the holidays.

A cold stone structure stands in frigid defiance to the moral decay which shrivels the leaves of erect extensions to the human lust for creative expression.

To counteract the talkie I had done with graduate student the day before, this undergrad project has no dialogue but just a steady stream of images we dreamed up on the spot.

This being an annual, Xmas holiday video, you can be guaranteed good cheer on a platter and maybe a plop in a bowl or two.

Frisco anxiously awaits the pyrotechnic birth of a New Year while the remnants of holiday greenery still burn bright in all the right places.

This final weather diary travels through some rough inner and outer domains.  Social interactions blend more smoothly than the clash of air masses which threaten to clobber a prairie town in a vortex of violence.