Paul Clipson’s camera was an extension of his eyes and his mind,” writes Lawrence English at Tiny Mix Tapes. “Often exploring layering and double exposure, created exclusively through in-camera techniques, he’d meld one layer that seemed to track his retina in the moment with a second layer that appeared to reflect directly his impressionistic memory of those images.
Clipson made dozens of short films and collaborated frequently with experimental musicians like Grouper, Maggi Payne and Black Spirituals. His psychedelic, non-narrative work brought him international acclaim, with his films appearing worldwide from SF to European festivals abroad
The style that Clipson became known for didn’t develop until 2006, when he began working with musicians like Jefre Cantu-Ledesma, who at the time played in the local band Tarentel. Clipson later said he appreciated musicians’ freedom to create on a whim, so he jettisoned scripts and narratives to create his own form of improvised film. Using a mix of Super 8 and 16mm projectors, Clipson developed a way to layer and “play” the films live.
“Paul Clipson’s subject, always, was the transference of material reality into the vibration of light, the riddle of lumen” – Max Goldberg
“Clipson’s primary concern is not alluding to the properties of cinema but rather to the properties of perception itself.”
“Then, it is no longer mere substance—it becomes process.”
“Clipson’s relationship to time is one of dilation. Here, duration exists without clock time—only a present moment in which both past and future are implicated. His films offer us time constructed out of experienced, engaged durations: the indivisible flow ”
-Found Statements on Clipson’s Recurrence Cinema by Dan Browne