Jeremy Moss (b. 1978, Saint George, UT) is an artist, teacher, and curator living in Lancaster, Pennsylvania. He works in both film and video for theatrical exhibition and installation, and his films have shown at the San Francisco Cinemateque, Anthology Film Archive, Chicago Underground Film Festival, Maryland Film Festival, Brooklyn Film Festival, Edinburgh International Film Festival, and at a range of venues, museums, and festivals throughout Europe, the Americas, and Australia. He earned an MFA in Filmmaking from Ohio University and a BA in English Literature from the University of Utah. He is an Assistant Professor of Film & Media Studies at Franklin & Marshall College, and
an active member of the curatorial collective Moviate.

Jeremy Moss was raised in the stark desert landscape of the American west, and his formal engagements often stem from that severe arid terrain and the religion and culture that permeate the land of his upbringing. Surrounded by strict geological and ideological lines, it is not a surprise that his artistic work is fundamentally structural and self-reflexive. As a filmmaker, he probes and pushes against the frame, testing that essential boundary of cinema. He approaches his work agnostically – there is no one true standard, mode, genre, or moving image technology – and he seeks to create new and alternative visual experiences, exploring the relationship between moving bodies and moving frames and the kinetic impact of sudden jolting juxtapositions, flickers, textures, colors, sonic swells, gaps, and glitches.

The Sight (2012)
A song of creation: immaterial spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Hand-made July 2012 at the Independent Imaging Retreat (Film Farm) in Ontario, Canada – a film about process, about ways of seeing and looking through the celluloid membrane.

Chroma (2012)
A frenetic yet hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.

Those Inescapable Slivers of Celluloid (2011)
Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush, circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to moving image.

Centre (2013)
Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide.

Curated by Jesse Pires