Through the works of the Experimental Film Society, of which Rashidi is a key member, cinema remains in a state of productive instability. Here, cinema can function as a sketchbook – a way of exploring some of the possible lives of an idea. This is what we encounter in Rashidi’s visceral and abrasive Homo Sapiens Project (161-170) in which he takes apart and reassembles a 35mm trailer for Brain De Palma’s little-loved The Black Dahlia (2006). This interaction with a seemingly alien Hollywood film culture feels like a form of archaeology; he returns to 35mm material as artefact, and what he uncovers there is a realm of possibility, not only what the artefact is but the furthest realms of what the artefact could have been. Foregrounding discarded, depreciated or flea market-sourced media, collected and re-used without any sense of mawkishness or nostalgia, Rashidi produces a reflexivity which transcends any impassive or non-emotive qualities associated with the genre.’ (Text by Daniel Fitzpatrick and Alice Butler, sourced from http://aemi.ie/the-films-of-experimental-film-society/ on September 13th 2016)
This work can be accessed from the EFS Collection, see external collections here.