I hope audiences will engage with Ouboros as a critique of how we interpret memory. Throughout the creation process, I started to reminisce about my own memories and challenge my own understanding of them, as it has been a goal of mine this year to interpret my own experience not passively but as an active participant in how the places and environments around me have shaped my own standing in my own life. 

The remembrance of one visual image leads to another. In a chain of clouded memories, I found myself reminiscing about people, objects, and places I had forgotten. The ouroboros is never fully visible to itself–the mouth cannot see the tail it is eating. The excavation of memories works similarly. Memory is constructed not from fragments of visual detail, but from the emotions that give them meaning. This concept is aestheticized through the usage of single-frame shooting, which creates an effect in which the image in a frame overlaps and consumes the next, making it nearly impossible to fully digest a single-frame image. Every individual frame represents the tail in the Ouboros, which feeds the mouth–the projector, the eye. The moving image, which produces the body–the film as experienced–always returns to the tail. The soundtrack by Shaun Kono-Peck is an assemblage of sounds I recorded throughout the filming process, along with Shaun’s own selections.