Vincent Grenier
<< Previous Next >>
Click stills for full size.
HomeFilms / Videos / Installations Film & Video DistributionShort Bio •  


























Burning Bush

Video HD (Orig XDCAM-EX, 16:9) 9:05 min. color, stereo, 2010.

Burning Bush is made from a series of mid fall shots of a bright "digital" red euonymus both in real time and with video time lapses.   Much of the ideas for the piece emerged during post-production. The Euonymus mid fall "natural" leaves are startling, their colors are so saturated as to appear unreal, their purity so uniform as to appear manufactured. It has long been a fascination of mine to activate shared qualities living in parallel universes; always, that which is present in the make up of the digital cinema image and that of the physical world it is representing.   Assumptions we make about the real world, the way it is recorded, or more appropriately translated, are cultural constructs. The inevitable biblical conotations of the Burning Bush refers to man made poetic as well as insttutional constructs. - VG

"A virtuosic use of video sets this burning bush alight with crimson colour and transcendent allusions." - Andréa Picard, Wavelengths Toronto Film Festival

"Wavelengths came to the rescue again. Its second program, which was predominately made up of studies of color, began as strongly as its first, with Vincent Grenier’s digital masterpiece Burning Bush (Canada/USA). His video camera is trained on the titular plant, aflame in red, and shot with varying focal lengths, in macro and long shots, fast motion, and deep dissolves, all of which serve to remove the factuality, materiality and actuality of the bush being captured by video and instead push the recording forward towards pure, flat colors. It seems, perhaps, the ultimate digital film. A vibrant slap to the notion of digital color correction that serves to tweak and render consistent the look of movies shot on film, Burning Bush is true color correction, seeing the flat mosaic created by video as nothing but gorgeous, completely fluid values of color and hue melting into and out of one another."
See -- Daniel Kasman, Tiff 2010. Day 3, MUBI Blog, Sept 12 2010.

Also see -- MIchael Sicinski, TIFF 2010, Wavelengths preview, MUBI Blog, Sept 10, 2010.

Festival Selection:
• 16th annual Media City Festival in Windsor, Canada, May 28, 2010
• 22st Onion City Experimental Film and Video Festival, Chicago Il, June 19, 2010
Wavelengths, Toronto International Film Festival, AGO, Toronto, Canada, Sept 9, 2010
• 14th Views from the Avant Garde, 48th New York Film Festival, Oct 2
2010, Lincoln Center, New York City
• 39th Festival du Nouveau Cinema 2010, ONF, Montreal, Canada, Oct 15 & 21
• 17th Valdivia International Film Festival, Chile , Oct 18, 2010
• CPH:DOX 2010, the Copenhagen International Documentary Film Festival, Denmark Nov 8 & 13, 2010
• Selections from the Toronto International Film Festival's 10th Wavelengths Program, Nov 19 2010, Arts Emerson, Emerson College's Paramount Center, Boston MA. Curated by Rebecca Meyer.
• Les Rendez Vous du Cinéma Québecois, Cinématheque Québecoise, Salle Jean Claude Jutras, Montréal, QC. Feb. 19 2011
• Director's Choice, 30th Black Maria Film + Video Festival, Jersey City, NJ & Tour Spring 2011
• San Francisco International Film Festival, Deep End Program, SKC3 (Kabuki Cinemas) San Francisco, April 24, 2011 and Pacific Film Archive, Berkeley, April 27 2011.
• Athens International Film & Video Festival, Athens, Ohio, April 22 - 28, 2011.
• Third Off and Free (OAF) International Film Festival, Art House MOMO, Ewha Womans University, Seoul, South Korea, Nov 17-23, 2011.

Distributed by VG & CFMDC
Available on DVD, and Blu-ray

CPH DOX 2010:
A pretty picture of a bright red euonymus bush becomes a piece of abstract and wordless illusionist art of an unsettling force through Vincent Grenier's observant optics. The beauty of nature is a romantic motif with a tradition rooted in decorative realism, which nonetheless refers to an idealized reality behind its superficial appearance - approximately like God, when he, according to the Bible, manifested himself to Moses in the shape of a burning bush. But the miracles, however, are man-made in 'Burning Bush', which uses photographic perfectionism to refute the metaphysical idea that an image is somehow connected to what it represents. The cinematic image is relative, and determined by technology. Grenier brings the heavily theoretical 'structuralist' experimental film of the 1970s into the present day, where HD video has opened up new opportunities for cinematic research. But 'Burning Bush' is nonetheless very easy to watch - a digital mirage with a full-frontal, expressive force, which confronts its viewer with pure colours, light, and sounds.   - Description for Burning Bush

This page was updated on 09/23/2010