Sally Cloninger
Currently, I am focusing on shorter,
experimental films and some of
these are featured in the THIS OLD
WORLD show. In 2016 I made the
animated and stop-action film, You
Decide which I described as
Cinema for the Anthropocene. I
made three more films in this series
during the COVID years, all related
to the Cinema for the Anthropocene
theme. This installation is the first
time that all four films (including
While We Sleep, The Unraveling of
Time, and This Old World) have
been shown together. In retrospect
I realize that I have used this
project to further expand my skills
in sound design and have even
ventured into composing and performing some of the musical themes. All four films include footage that I shot on and underwater in Huahine, French Polynesia but also, combines footage from additional locations from other places on this planet. The fifth film in this show, If I Were a Fish, will have its premiere at Childhood's End Gallery.
My video and film work spans many genres including documentary (ch.a.lat: The Hoh River People and Dreaming of Spirit Animals: The Glass Art of Cappy Thompson), experimental autobiography (MIX-MIX | HALO-HALO), performance media (Mind Over Matter: Dr. Barbato Explains the 80s), media activism (Keeping A Balance and Nobody Cares for a Garments Girl), video installation (Shared Site), and experimental ethnography (Your Willing Power).
I taught filmmaking, media studies, performance studies and visual anthropology at The Evergreen State College for 34 years and the collaborative, experimental nature of Evergreen influenced my moving image work in very significant ways.
One of my most transformative projects involved a multi-year collaboration with an international team of women to produce Into Focus: Changing Media Images of Women, An Asian Resource Kit. For a number of years I also was a consultant with the Asia-Pacific Institute for Broadcast Development where I designed and co-taught workshops in documentary production for women television producers from Malaysia, Bangladesh, the Philippines, India, Iran, Indonesia, Japan, the Maldives, Pakistan and Sri Lanka.
Over the years my films have been exhibited internationally including the London Experimental Film Festival, 20th Seoul International Women's Film Festival, Berlin Feminist Film Week, Experiments in Cinema (Albuquerque, New Mexico), The Portland International Film Festival, Montreal Women's Film Festival, Tucson Experimental Film
Festival, Women in Cinema-Seattle, Womanwatch, Channel 4 Manila, KCTS (PBS)- Seattle, Montpelier International Film Arts Festival-France, National Art Gallery-Kuala Lumpur, Women and Development Film Festival-Seoul, Local Sightings at the Northwest Film Forum, the Seattle Art Museum, and the National Film Board of Canada.
My film projects and global media activism have been supported by the National Endowment for the Arts, the Fulbright US Scholar Program, the Asia Foundation, the Swedish International Development Authority, the Washington Commission for the Humanities, the King County Arts Commission, USAID, the Art Alliance for Contemporary Glass and The Evergreen State College.
My video and film work spans many genres including documentary (ch.a.lat: The Hoh River People and Dreaming of Spirit Animals: The Glass Art of Cappy Thompson), experimental autobiography (MIX-MIX | HALO-HALO), performance media (Mind Over Matter: Dr. Barbato Explains the 80s), media activism (Keeping A Balance and Nobody Cares for a Garments Girl), video installation (Shared Site), and experimental ethnography (Your Willing Power).
I taught filmmaking, media studies, performance studies and visual anthropology at The Evergreen State College for 34 years and the collaborative, experimental nature of Evergreen influenced my moving image work in very significant ways.
One of my most transformative projects involved a multi-year collaboration with an international team of women to produce Into Focus: Changing Media Images of Women, An Asian Resource Kit. For a number of years I also was a consultant with the Asia-Pacific Institute for Broadcast Development where I designed and co-taught workshops in documentary production for women television producers from Malaysia, Bangladesh, the Philippines, India, Iran, Indonesia, Japan, the Maldives, Pakistan and Sri Lanka.
My film projects and global media activism have been supported by the National Endowment for the Arts, the Fulbright US Scholar Program, the Asia Foundation, the Swedish International Development Authority, the Washington Commission for the Humanities, the King County Arts Commission, USAID, the Art Alliance for Contemporary Glass and The Evergreen State College.
