Artisan of light and sound ephemera, Bruce McClure performs in a conditioned cinematic setting, which includes one to four film projectors and concomitant emulsions both technical and animal. Variously coated, erased, bleached, or abraded, film is the technological substrate used in the service of the projector to seek reciprocal motions in the brain. Cinematic presuppositions such as the intensity of projector lamplight, the plane of focus, and the hegemony of film’s emulsion are challenged on the spot and to the syncopated rhythms of asynchronous optical sound.

Searching the projective boundaries of theater space while harnessing the structural and lavish offerings of film and its mechanical counterpart result in unique performance events. As with early kinetic experiments in perception, and protocinema, these performances excite the mutual action of the eye and the mind anticipating a longer future for the 16mm projector in the spectacle of discarded but cherished technologies. Perhaps more important, however, is the testimony of these performances to the essential need to withdraw under the cover of the big roof and darkened recesses of a theater, emerging later physically spangled and a little shocked by perceptual brisance.


  I should describe what I do as continuity of movement never fully completing a figure. Individually titled pieces are not snapshots or unique moments or works in themselves, but scored diagrams, still lives to be resuscitated in a breathing theater. Cleared and free, the theater is a place born of calm without products or refuse, where a world takes shape and energy is both the raw material and final product—an intangible object for consumption.
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Born in Washington, D.C., 1959
Lives in Brooklyn, NY

1985: Bachelors of Architecture, Virginia Polytechnic Institute and State University

Selected Works:
2007 Evertwo Circumflicksrent . . . Page 298
They Wakened Later, Simultaneously, Much Refreshed
2006 Nethergate
2005 Christmas Tree Stand
2002 Crib and Sift Series: Circle Jerks (02), Chiodo (03), Presepe (03)
2001 Quarter Draw
1999 Indeterminate Focus
Divorce American Style
1998 The Southern Star Passes Without Pressure

2007 NOW Magazine Overkill Award, Images Festival, Toronto, Canada.
‘They Wakened Later, Simultaneously, Much Refreshed’
2006 Grand Prize. Media City Festival, Windsor, Canada for ‘Nethergate.’
2005 NOW Magazine Overkill Award, Images Festival, Toronto, Canada.
‘Christmas Tree Stand’

Selected Performances, Screenings and Workshops:
2008 Filmmuseum, Vienna, Austria. Solo performances, ‘Lit Cavities in the Face Open Their Glassy Embrace to Receive You.’.
2007 San Francisco Cinematheque. Solo performances, ‘Down the Photoslope in Syncopanc Pulses.’
2007 Ertz Festival, Oltras Musicas. Bera, Spain. Performance at the Berako kultur etexa, three days of workshops at Arteleku, and a solo performance at Koldo Mitxelena kulturunea both in San Sebastian.
2004, '07 Evolution Festival, Leeds, England. Solo shows titled ‘Intra-Articulated Rushes (2004)’ and “6 Two 8’s Dopes to Infinity (2007)’ with a workshop ‘The Phoenix and the Turtle (2004).’
2003, '05, '07 Images Festival, Toronto Canada
2004, '07 Ann Arbor Film Festival. In 2007 a solo show, ‘Happy Incidences,’ was presented as a part of the featured artist program.
2002-08 Media City Numbers 8 ­ 14, Windsor, Canada.
2003, '07 International Film Festival. Rotterdam, Netherlands. Solo programs, ‘Synchro-Diachronic Gewgaws (2007),’ ‘Film Lengths (2003)’ and ‘Film Loops (2003).
2006 Wurttembergischer Kuntsverein Stuttgart. Solo program as a part of ‘Expanded Cinema, Space/ Time/ Structure.
2006 Kill Your Timid Notion, Dubdee, Scotland. ‘Christmas Tree Stand’ was performed and described by the Artists’ Moving Image Network as “an amazing encounter of the weekend.”
2005 Performa Biennial, White Noise, White Box Gallery, NYC. A four day performance that I titled “Forsaken Placements ­ Tentative Platforms : Performative Struttings’ was presented.
2005 Image Forum Festival, Tokyo & Kyoto, Japan. Solo show titled, ‘Temporal Thresholds : Deliberate Obstructions and Calculated Aimlessness.’

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