Bruce McClure, an architect turned filmmaker with a penchant for thunderous noise, utilizes multiple 16mm projectors and short film loops to create rhythmic strobes and drones, all filtered through an array of guitar effects pedals and turned up to 11. The sound-image relationship slowly evolves as the loops drift through different phases of syncopation. The physicality of the flashing light and penetrative audio results in a visceral, transcendent experience.
Bruce McClure graduated with a degree in Architecture in 1985 and worked for 23 years in small firms on residential projects. In 1994 he redirected his attentions toward “the immateriality of [cinematic] pursuits,” building simple devices using light intervals to affect the perception of motion and space. Eventually the film projector was adopted as his primary tool. Incandescent light and optical sound were organized into “projector performances.” McClure’s unconventional use of optical sound in conjunction with shuttered light has earned him a unique place at festivals in the United States and abroad. His exploitation of the film projector as a picture and sound device has enabled him to move from “cinema” to the music hall. In 2009 he was the opening act in Brooklyn and Chicago for a reunion of seminal Industrial music group ‘Throbbing Gristle’.
This Scaffold Is There Set Up as if to Edify
16mm projection & sound performance "Drawing out great aims, I’ll close my eyes and you like a pothook for the family gibbet, will hold pardonable confusion. Doole-doo the gallows bird calls to unnecessary attention the errors, omissions, repetitions and misalignments . . . seated with such flop right down determination. My working premise embraces methodological blunders and contingency in an argument whose conclusion, while undefined, is wholly concerned with the operational structure of organizations that transfer information, energy and material. In an assembly of shaded spaces spectacle is accessorized, anthologized and archived by a richness of technological means. So too my motley agents of provocation are normalized as performances commissioned to the public with mostly tangential benefits. Change ringing and ringing societies – the carillonneur will ring his glockenspiel, Rng rng! Rng rng!" – B.M., April 1, 2012