Jeanne C. Finley
Jeanne C. Finley is an American artist who works with representational media including film, photography, and video. Her projects take a variety of forms including site-specific projections, sculptural installations, drawing, experimental non-fiction films, and engaged participatory events. She is a member of the San Francisco Threshold Choir and frequently incorporates the choir and original songs into her work. She has collaborated with artist and educator John Muse on numerous films and installations since 1989.
Work
Finley frequently begins her projects by engaging in a series of non-fiction strategies of research which include interviews, site visits, and chronicling archival, original film, and photographic sources. She layers these bodies of research with humor, imagined narratives, and empirical information from the sciences, a tactic which highlights the contestable authority of the documentarian voice. Finley's process is often collaborative and she works with other artists as well as the individuals represented in her projects to create work.Finley's early work with projected photographic slide shows such as Deaf Dog Can Hear, 1984, has developed into the continued creation of multi projector site-specific installation pieces including The Adventures of Blacky, 1999, The Trial of Harmony and Invention, Winter, 2001, Catapult, 2005, Sleeping Under Stars, Living Under Satellites], 2010, and the outdoor projection version of Book Report, 2017, for the True/False Film Festival.
Many of Finley’s projects explore sites where the lives of individuals have shifted due to events outside of their control. The tension between individual will and social/political structures is explored in works such as Manhole 452, 2011, a film in which a man ruminates on fate and determination after a manhole cover explodes under his car on Geary Street. The Napoleon Room, 2008, shown at the Camargo Foundation in Southern France, uses sound as well as interior and exterior projections on a room where Napoleon slept. This piece intertwines different narratives of war, including Finley’s mother’s experience at the site when she participated in the invasion of Southern France during World War II.
Finley often works with essay-formatted narratives, such as in the work Fat Chance, 2014. In this film, Finley combines footage of a wrecked sailboat with an original sound score developed and voiced by media artist Pamela Z. The film tells of the rogue wave that hit the sailboat, and includes an interview from one of the fathers piloting the boat before the accident. He testifies to the power of the documentary footage, which helped him move away from guilt, and towards the acceptance of the death of his friend’s son, an incident beyond his control.
The use of language as a weapon or tool of resistance has been a focus of a number of Finley's films, as seen in Involuntary Conversion, 1991, Language Lessons, 2002, and Book Report, 2017.
Several projects, such as Journeys Beyond the Cosmodrome, 2017, Falsework, 2015, and Threshold, 2012, use public and participatory singing to harness the fissures between the physicality of Finley's subjects and their often disembodied voices, a result of her often utilized format of the voice-over. The multi-platform project Journeys Beyond the Cosmodrome, 2017, began as a workshop with sixteen teenagers graduating out of an orphanage in Kazakhstan during which they imagined their lives after graduating through writing, photography, and video. In 2018, during a live cinema presentation of this project, the San Francisco Threshold choir performed music that singer/composer Kri Schlafer had written based on the language from the teenagers' stories.