As I Can See
Film and photographic work acts as research in David's practice. This (very) short film forms part of Cass' ongoing collaboration with artist Joseph Calleja. He interviewed Tony Calleja as part of a documentary film he was working on with photographer / film-maker Gonzaga Gómez-Cortázar, on the island of Gozo (Malta). Cass spoke with Tony about his life on the island, and about Joseph's decision to dedicate his life to making artwork.
Photography acts as both documentation and research in David's practice. From sets of images created in arid zones, to scenes taken whilst traveling. View more here.
El Bosque Encarnado
In collaboration with photographer + film-maker Gonzaga Gómez-Cortázar. Literally translated, Encarnado (flesh-red) suggests incarnation, impregnation, or indeed the personification of a place, an object. El bosque: the forest (the Sierra Maria-Los Vélez Natural Park), its sometimes-hazardous Aleppo Pines, covering most hillsides for miles around: planted by man.
Sketchbook Notes: Struck by lightning, this patch of forest burned into a surreal vision, extinguished and exaggerated further by vivid artificially red fire-retardant. Man-made substances, poured over ‘natural’. Gómez-Cortázar and I are artists who scrutinize, who document traces. Much of our work is about recognition, about disappearance, about familiarity and indeed the loss of familiarity: this patch of forested hillside we both knew well, rendered unrecognisable, alien. The film is one of contrasts, both aesthetically and conceptually: of a sinister painterly beauty, of tragedy, and part homage to heroic action (in the case of the fire-fighters).
Gonzaga Gómez-Cortázar & David Cass | Created for the purpose of exhibition, hence the film is not viewable on this website
Sketchbook Notes: Much of my 2014 work documented the small events that form part of everyday life for the residents of Cortijada Los Gázquez (an off grid farm-house in the Almería alpine-desert). Things that I previously took for granted: running water, electricity, heating. Things I’d never had to think too much about before. Wood has to be gathered, chopped, stored – to burn for heating, to fuel the boilers. Power gathered by solar panels and a wind turbine. At the time of creating this film, we were experiencing a drought, and so water had to be bottled (almost daily) from the spring in the nearest village (11.5 km away), or brought to the house by tanker. This water is used incredibly carefully, there’s very little water wastage, and even the sewage water is filtered and fed back out to the land, divided into black and grey water. Filmed without stabilization, so as to emulate the rocking motion of a ship at sea, this film documents the arrival of rain: the water tanker. This ancient lumbering beast delivers 10,000 litres of water at a time to the house.
Lens-Based Works CV
The below refers only to photographic/filmed works:
ECOS • Group Show: Screening of El Bosque Encarnado • Curated by Inés García • Sala Rekalde, Bilbao
Till It's Gone • Environment focussed group show • Istanbul Museum of Modern Art • Istanbul, Turkey
Rome Media Art Festival (in partnership with Google) • Film Feature • MAXXI Museum • Rome, Italy
TIVAF (Tasmanian International Video Art Festival) • Tasmania
Featured: example artist for Joya: arte + ecologia in the book Conservación de Arte Contemporáneo 16ª Jornada
Museo Nacional Centro de Arte Reina Sofía, Spain
El Bosque Encarnado reached round two of judging in the BAFTA Aesthetica Short Film Festival 2015
Participation in Art Speaks Out • Live screening • Berlin, Germany
Presented El Bosque Encarnado during ARTCOP21 • Paris, France
Talk + Presentation of El Bosque Encarnado and Rain
Encuentro Internacional de Arte + Ecología #2 • Joya: arte + ecología
Cortijada Los Gázquez • Andalusia, Spain