Jay T. Wright (filmmaker)
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Jay T. Wright (born 1972) is an American filmmaker best known for showings in European video spaces and at independent film festivals. His work is carried by Museo Nacional de Arte (MUNAL), Montemedio Arte Contemporaneo (NMAC), Artsist Space and the Pompidou.
His work is known for synergizing theoretical math, science and art. In Assembling the World fractals and landscapes as seen in the work of Mandelbrot sets and iteration, in The Color of Fish string theories and M-theory, and in Adventureland Check-In stochastics and data structures.
The argument in much of his work is about the generic quality of all mechanically or digitally manufactured images and ability or lack of ability to communicate content. This tension acts, in many of his films, as a competing motive and sometimes in direct conflict with any idea of narrative.
His first feature film, Assembling the World (16 mm, 1995), made when he was 20 years old, follows cultures under the pressures of colonialism after the fall out of war in Taos Pueblo and Belfast and features the Very Large Array radio telescope in New Mexico.
His second feature, The Color of Fish (HD/DV 2001), examines string theory and the relationships of "theories of everything" to the deep-coded needs of the human mind. Made using early desktop tools, the film can be seen as a direct antecedent of Spike and Mike's Festival of Animation and precursor to comedy shows such as Toon's Adult Swim. The film was nominated for a Guggenheim Fellowship in 1999 and showed at MUNAL: Museo Nacional del Arte in Mexico City during the Biennial of Art and Poetry.
His long-form film Dreamtime (Digital, 2007, Tous le Court) is an inner journey using "throw away" digital technology to probe the environment and time and connections to the definition of when images are deprived of physical form. The film restates and questions the ideas embedded in Italian Neo-Realism and Cinema Verite. It was also his first performance in a number of years after a long re-evaluative break, something he has become known for.
Other short films have pushed back on notions about urban revitalization – Voyage in Blue (35mm, 2005, Cannes Short Film Corner) that examined forms of Japanese haiku and zen – FireStatic (16mm, 1998, Calcutta Film Festival). His film Purity (Digital, 2009) contains no images, consisting of only titles and a white screen for 90 minutes, and was his most militant stance on image meaning and image production.
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