Sean McHenry

Sean McHenry

Film/Video
Using primarily small gauge film formats of 8mm, Super 8, 16mm and Super 16mm film and older motion picture cameras in the style of an experimental auteur gives me freedom to create without the trappings of the format of the day. I do however use video formats as well, from cell phones and other consumer grade devices through full High Definition broadcast quality equipment, depending on the dictates of the original idea. Coming from a very technically oriented background of Broadcast Engineering, I now allow myself to concentrate more specifically on the original idea that led to the film itself and not the format; unless format is part of the message or use of an improper format would disrupt the message.

By removing elements that would spoon feed an idea to an audience I attempt to leave them the gift of a mystery, one they need to solve portions of. Massive deep ideas and questions about humanity itself can be transferred without total explanation and this process has in no way been fully explored in filmmaking. What one can leave in or take out from a film depends greatly on the collective mindset of your potential audience and the current zeitgeist so this is a moving target and should be updated as audiences age, live life or gain film experience, and as the filmmaker does the same. Film, like all arts examine a specific time in history. As our point on the timeline of history changes, the language and art of film needs to be redefined.

My love of carefully crafted mystery in film comes directly from my love of the often indecipherable David Lynch’s films. One could look at the audiences unanswered questions as a failure of the filmmaker to communicate with his audience. However, allowing the audience the ability to take a bit of the mystery with them leaves a lasting mark and allows them to sink more fully into the world of the film even after the lights come up, if they otherwise connect to the material.

It is a common idea and one I live with that the scariest monsters in a horror film are the ones unseen and with no real rational. Forcing the audience to confront their own version of fears, pleasure or happiness allows them a much deeper connection to the material by personalizing it. My goal is to continue to discover and use the mysteries in my film ideas to allow the audience to make personal connections to the intentionally incomplete details of the film.
Upcoming Events

A finalist in the GCAC Artists Grants for 2011

My films Numbers and Chemical were part of the exhibit by Nicole Eggert at the Ohio State University Urban Arts Space - October, 2011

Exhibiting member/contributor to Columbus Moving Image Arts Review. 2011/2012

Gallery showings at CS Gallery, Columbus, Ohio 2001, 2012

GCAC Supplies/Equipment grant winner 2012

Screenings at Colmbus Arts Festival 2012

Upcoming screenings at Columbus Comminity Festival (aka ComFest) 2012

Artist Links
  • I allow businesses to purchase or display my work.
  • I am open to selling my work under payment plans.
  • I am available for demonstrations.
  • I offer classes.
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