“Down Payment on a Dead Horse” begins as a formal portrait of the Saskatchewan winter landscape, and becomes an examination of masculinity (shot on Super 8, 16mm and VHS). Here, I am focused on the inherent innocence that lies within these family images, and I am also drawn to the darker implications of them as well. In contrast, the winter landscapes are meant to be in direct opposition to the lush color, and familiar poses that have become synonymous with old Super 8 “home movies.”
