"For Kirby, the image and colors chosen become 'a jumping off point for thinking about history' and the image's relationship to the history it references. For her, the 70-year history of the bridge is evoked through blacks, whites, and sepia, colors that suggest Kirby's interest in early film with its black and white and toned images. The film, she says, meditates on the whole 'history of the bridge.' The piece also meditates on another current technological crossing -- from celluloid film to digital media -- as the latest in a history of crossings in which emergent and residual technologies intermingle."
- Tess Takahashi

"The recent work of Lynn Marie Kirby can be understood as a way of using seemingly transcendent aesthetic forms to achieve a deeper form of immanence...While Kirby is clearly an heir to the legacies of formalist modernism in film and video art, her work moves through this trajectory and back again. Like earlier experimental filmmakers, Kirby employs painterly abstraction, the radical condensation of time, and the direct registration of space on the material substrate of the medium. But she almost always uses formal schemas in order to return to the things themselves. Kirby examines the uniqueness, irreducibility, and the emotional ramifications of the particular moment, locating the palpable residues of the everyday. But like later, more systematic filmmakers such as Gehr, Akerman, and Snow, Kirby attends to the larger patterns, repetitions, and reversals that organize both perception and our lived experience. Kirby's work uses shape and form to excavate (her term, and an absolutely apposite one) both the particularity of individual moments, and the cycles of lived, embodied existence, of artistic creation, of motherhood and family life, or urban dwelling and international transit. Her work is, ultimately, about the structures we use to access our world, and what we care most about in it."
- Michael Sicinski

Contains Compression and Tension (Golden Gate Bridge Exposure: Poised for Parabolas, Black Belt Test Exposure: Sempai James Finds His Line, St. Ignatius Church Exposure: Lenten Light Conversions), Refracted Case Histories (Jacaranda Tree, Chalon Road Exposure: Brazilian Transplant, Huntington Gardens, Giant Stipa Exposure: California Native, Mount St. Mary's Chapel Exposure: Galican Import), Latent Image Excavations: Reno (Chapel of the Bells Wedding Exposure: To have and to hold, Pyramid Lake Paiute Reservation Exposure: As long as the rivers flow, El Dorado Casino Exposure: House Stands on 17), Polk and Filbert Street Exposure: Intersection, Lebanon Exposure: Salvaged from the open sea, Karate Class Exposure: Three Variations, Requiescat, and Russian Arc: Across Cinematic Time.