Filmmaking involves a considerable amount of collecting and notating. Images, sounds, gestures, phrases of thought, all coalesce over a period of research and observation into an eventual cinematic experience. For me, one of these streams is photography. Notating in the nick of a moment a photographic impression or association. These 10 prints are but a small set of such gatherings around my current project about the end of time. Not the end of the world, but rather the end of chronos as our timekeeper, giving way to a deeper awareness of great, geological, universal time and the manifestation of form we know as reality.
Quoting Andre Tarkovsky, referencing Dostoevsky, in his book Sculpting in Time:
Stavrogin: “… in the Apocalypse the angel swears that thereʼll be no more time.”
Kirillov: “I know. Itʼs quite true, itʼs said very clearly and exactly. When the whole of man has achieved happiness, there wonʼt be any time, because it wonʼt be needed. Itʼs perfectly true.”
Stavrogin: “Where will they put it then?”
Kirillov: “They wonʼt put it any where. Time isnʼt a thing, itʼs an idea. Itʼll die out in the mind.”
Photos all taken between 2007 & 2010 in Ontario, Switzerland, Costa Rica and on the Island of Hawaii.
Editions of 10.
A key figure in the Toronto New Wave of the 1980s, Peter Mettler is one of the most intriguing and audacious filmmakers in English Canada, known not only for his work as a director but also as a cinematographer and editor. His films are distinguished by an innovative approach to the medium, regardless of genre, bridging the gap between experimental, narrative, personal essay, and documentary. All of his work is visually stunning, particularly the two films he is best known for: Picture of Light and Gambling, Gods and LSD. Mettler is also an accomplished photographer and a pioneer in multimedia work. His live visual mixing performances are groundbreaking and legendary, and he has long been considered a leader in this field.
In Peter Mettler, Jerry White focuses on Mettler’s career as a director, emphasizing the global nature of his films. White also discusses Mettler’s groundbreaking explorations in the field of visual mixing and his work as a still photographer and cinematographer. The book is richly illustrated with examples of Mettler’s work.