Ezra Wube

2009 | 00:02:32 | United States | English | Color | Silent | 16:9 | HD video

Collection: Single Titles

Tags: Animation

Stop action animation, ink on glass.

This animation is performed and documented directly from life to embrace the present. In this animation, I am using the window view from my studio, where an active scene of construction workers creates the backdrop. By putting acetate on the glass of the window I am able to keep full transparency. I am using a brush dipped in temporary Sumi ink to construct each scene. Each painting is photographed with a digital camera, and then washed away by water poured on the slippery acetate. As each scene is washed away, the unconscious consumption of time is exposed. In this process the confinement to a singular authenticity is forever gone, even though it has been documented. The documentation serves as an indexical vehicle which captures the past. The purpose of documentation is not to preserve, but to serve as a bridge, connecting the past with the present, the internal with the external.

—Ezra Wube

This title is also availble on Ezra Wube Videoworks: Volume 1

Pricing Information

Additional Formats/Uses
Request an Exhibition Quote Request an Archival Quote

Please contact or visit with any questions about the license types listed here.


BAM/ African Rhythms American Echoes
Brooklyn, NY

Exhibitions + Festivals

AMOA-Arthouse at the Jones Center, Austin, TX (2012)

Oakland International Airport Media Wall (2011)

Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001


Athens Int'l Film/Video Festival (OH), 2001



Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung