3rd PIECE in a triptych for THE COVID PANDEMIC
Wind moves in every direction.
The film’s single encircling camera movement starts with a topsy-turvy gesture.
Drawing attention to a playground’s map of North America, a youth plays with the wind.
Wind is invisible. Only its results are seen. The camera pans; a wind sweeps in the face of a woman: the first of three portraits. The camera returns to the starting point.
Wind, just like the sea, can take you away. A man on a buoy floats beneath ground level.
He fades to black as the wind funnels upward, enveloping the boy battling it.
The camera sails towards an approaching train. The man on the buoy appears below the tracks and ascends upward into the cars. As it carries him away an inky stranger emerges on the sidewalk.
The camera glides back towards the schoolyard.
A photo of my father appears, inverts its color, and flies away into the light.
The wind is always here.

  • Lili White
  • Project Type:
    Animation, Experimental, Short
  • Runtime:
    2 minutes 32 seconds
  • Completion Date:
    December 31, 2021
  • Production Budget:
    0 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Shooting Format:
    cell phone
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Lili White

Since 1978 LILI WHITE ( has been exploring collective memory, history, origins of energy, and the primacy of dream states, through her painting, sculpture, and over 100 moving image works.
Her BFA is from the University of Pennsylvania and she is a graduate of the Pennsylvania Academy of Fine Art four-year studio study in painting.
Three fully realized, multi-media theatrical works with poetry, dance, music, video and theatriccal acting, were staged in Philadelphia Pa in the early 1990’s, before she re-located to NYC; where she was an accepted 5 year studio artist at Snug Harbor.
In 2004 she delivered her Lecture-Presentation, INVISIBLE ENERGY: ASIAN ART INFLUENCES IN MY WORK, at a College Art Association Panel.
She was granted residencies for both still and moving image works, as her experimental filmmaking work epanded. Later, she would become an elected BOARD Member for MILLENNIUM FILMWORKSHOP.
She received a NY State Council Finishing Funds Award, for her feature essay film, FOOL’S GOLD: CALIFORNIA ROADTRIP in an ELECTION YEAR, a portrayal of American “greed”. It screened at the NYPublic Library’s MEET the MAKER Series.
As an activist, she has maintained a dedication to presenting artist's work, most recently curating and presenting women's work in live cinema shows in NYC since 2010 through ANOTHER eXperiment by WOMEN FILM FESTIVAL (aka, AXW) ( that had a Fractured Atlas Fiscally Sponsored Campaign and was a recipient of the LMCC’s MCAT Arts Fund Grant.
Its web-site maintains an archive of the program notes, and also features streaming shows.
Her sculptures were curated by Professor Katie Deli Kaufman of Corcoran College of Art & Design in 2019 in MARYLAND FEDERATION of ART’s EYE OF THE BEHOLDER SHOW. I CHING videos
were featuered in 2018’s JUMBLETRON at CUBED LUMINOUS SHOW; curated by Kera MacKenzie, Andrew Mausert-Mooney, and Joseph Herring from the Pensacola Museum of Art.
Collaged targets were included at CERES GALLERY: 13th InterNational Exhibition, juried by Sara Softness, an Assistant Curator at The Brooklyn Museum; and at the grassroots show, AGAINST TRUMPISM: THE ART & POETRY OF RESISTANCE at the Museum of International Propaganda in San Rafael CA, by locals Patrick Gannon & Adrienne Amundsen in 2017.
Her 2nd RIGHT TARGET was used as a show's backdrop in a NYC evening of readings and art regarding gun violence in America, sponsored by Women in the Arts & Media Coalition, curated by Holli Harms. Barry Kostrinsky (moderator of ARTISTS TALK on ART) included targets from the 1980's in a Bronx show in 2016, at Haven SBX entitled FEAR.
One of her installations, GOT’ CHA, delt with a magical happening caught on tape. It was curated into WHOSE AFRAID OF ORNAMENT? by Natasha Kurchanova at NutureArt, Brooklyn in 2010.
The Film and Video Poetry Society’s curator, Jesse Russel Brooks, presented IMAGINING BACKWARDS: a public dialogue with artist and experimental filmmaker, Lili White in 2019.

In 2021, her film, THE KITCHEN SINK, was included in Jeffrey Cypers Wright’s “& Friends” TV show produced by HOWL HAPPENING, and she received a City Artist Corps Grant, to stage a live reading of her script, CAT MOTHER, with 20 actors playing multiple roles.

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Director Statement

Influenced by gesture, movement, dance and Caravaggio's paintings, Eastern philosophies, language and psychology, my impressionistic moving works and studio art featuring the body's language found in a borderline space. The images describe the inter-connectedness and elusiveness of living change, found under the surface of things.
The work’s innards span the personal, history, and society’s collective memory, connecting stories tangentially, presenting a dream-like logic. They draw from projections visualized in humanity’s mental imagery, belonging to the complex movements of spirit, that remain in flux as ongoing dynamisms of evolutionary change. They correspond to early cinema’s imagery, where the uncanny, imaginative, associative, and mysterious rule.
Viewers surrender, entering a borderline space, where we dream together.