Naomi Uman is a hands-on filmmaker: for Leche (1998),
a study of a Mexican dairy farm, the California artist
processed 16-millimeter footage in a bathtub; for her
coy Removed (1999) she bleached away the contours of a naked woman from the frames of a '70s porn film; and in Hand Eye Coordination (2002) she shows her own hands scratching the emulsion off the celluloid.
Whether milking a cow, dialing a rotary phone, or
masturbating, women's hands abound in these impish
reveries, which are accompanied by nonsynchronous
montages of found sound. Most beguiling is Private
Movie (2000), which mixes imagery of sparklers, neon
signs, and a shirtless hunk with a luminous groin. Two
more titles--Grass (1998) and Developing Memory
(2002)--bring the total running time to an hour,
though Uman will bring additional works to the screening.