"The fog lifts on a scene. For an attentive viewer the mental fog could also lift. It doesn't go from white to full clarity. It just shows a piece of time, a section of a process in the landscape and in the mind of the viewer. The entire image slowly changes, the sky, the ground, what's at the edges. The main features are the three trees and the wires. The trees stand there, manifesting their being. They have a soft shape without outline. The lines of the wires are something else. They relate to drawing rather than painting, the controlling mind rather than the imagination. The implications of this contrast go right through my work. There is something ethereal, ghostly. The viewer is invited to explore the screen, looking here and there, each person following a different path. Those whose path includes entering into the very emulsion that makes up the image are rewarded by the sight of ghost horses, the first animals in my films." -Larry Gottheim

"It is a small but perfect film." - Jonas Mekas

"The metaphor in FOG LINE is so delicately positioned that I find myself receding in many directions to discover its source: The Raw and the Cooked? Analytic vs. Synthetic? Town & Country? Ridiculous and Sublime? One line is scarcely adequate to the bounty which hangs from fog & line conjoined." - Tony Conrad

"FOG LINE is a wonderful piece of conceptual art, a stroke along that careful line between wit and wisdom - a melody in which literally every frame is different from every preceding frame (since the fog is always lifting) and the various elements of the composition - trees, animals, vegetation, sky, and, quite importantly, the emulsion, the grain of the film itself - continue to play off one another as do notes in a musical composition. The quality of the light - the tonality of the image itself - adds immeasurably to the mystery and excitement as the work unfolds, the fog lifting, the film running through the gate, the composition static yet the frame itself fluid, dynamic, magnificently kinetic." - Raymond Foery