Silverlake Scenesters 3-Way (2006)

This piece is an excerpt from a 2-channel documentary feature about the work of Margie Schnibbe, created for Porn Week at Monkey Town in 2006. Margie is a Los Angeles-based artist who also directs commercial porn films as Vena Virago, and this film is a mashup of scenes from her films with interviews, behind-the-scenes footage, and new original animations to illuminate the experience of the subject. Margie often incorporates original paintings and sculptures into her porn sets (http://www.margieschnibbe.com/p4pf/p4pf.html). This piece is an animation based on a scene in Silverlake Scenesters with a full-room installation painting in front of which a girl-girl-guy 3-way was taking place. The porn scene was compressed from twenty minutes down to two (ala the sex scene in Clockwork Orange) and screened on one axis, while on the opposite axis, this animation played as a loop that became more rapid as the scene reached its climax. There ...

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This piece is an excerpt from a 2-channel documentary feature about the work of Margie Schnibbe, created for Porn Week at Monkey Town in 2006. Margie is a Los Angeles-based artist who also directs commercial porn films as Vena Virago, and this film is a mashup of scenes from her films with interviews, behind-the-scenes footage, and new original animations to illuminate the experience of the subject. Margie often incorporates original paintings and sculptures into her porn sets (http://www.margieschnibbe.com/p4pf/p4pf.html). This piece is an animation based on a scene in Silverlake Scenesters with a full-room installation painting in front of which a girl-girl-guy 3-way was taking place. The porn scene was compressed from twenty minutes down to two (ala the sex scene in Clockwork Orange) and screened on one axis, while on the opposite axis, this animation played as a loop that became more rapid as the scene reached its climax. There are parallels to a number of other artworks that cut or white out the actors from porn scenes (for example, "Removed" by Naomi Uman), however, this piece takes a step further by creating a fantasia based purely on the background scene, with visual references to the actors removed entirely.

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