A selection of videos from an ongoing exploration—ranging from casual to formal—into the syntax of film and video. This discipline is a public work in progress that is both an outgrowth of and a foil to Bingaman's other creative pursuits.
An ongoing project documenting the people of Prairie City, South Dakota, where Bingaman's family is from.
In 2015, Bingaman was able to return to Japan for three weeks. This time, he was with friends (whereas the first time, he was alone—see below). Just as before, casually shot video from time to time—simply as a way to remember those moments between events that end up making a larger contribution to the memory as a whole.
Early on, as I started taking footage, I found myself moving slowly and thoughtfully. At the end of the first few days, I’d stay up in my hotel room, playing back the footage on my camera. I remember it sort of hitting me all at once that no matter how the thing reads to an outsider — no matter how “dramatic” the finished product is — I’m going to have to be honest about how this place feels.
– excerpt from an interview with Kawsmouth about the piece
In 2011, Bingaman was charged with the task of transporting a small Jackson Pollock painting (valued at $5M) from a museum in Kansas City to another in Tokyo. He had been a domestic courier a handful of times, but this was his first international trip of the kind. He had never been to Japan and had never shot video on an iPhone. This compendium of brief moments of wonder, which he gave myself the flight back to compile and edit, was the result.
I chose to share these nearly infinite (and infinitesimal) moments by presenting them in the fluid context to which they belong, time. Though a finished painting provides some evidence of the process, much is lost in the making. By documenting my work at each stage, I intend to reveal the tedium of preparation, and the rhythm of a composition’s progress. In addition, I get to keep the painting in its developmental stages. This safeguard of sorts keeps me from lingering for too long.
-excerpt from interview with New American Paintings about time-lapse process
If music videos featured Bingaman's father-in-law, this is what they'd look like.
These paintings were something I could not have envisioned when I began. They were the result of a desire to grasp at, or pass into, something that is both deeper and harder to capture than a "feeling". And those paintings are the most grueling. In the days that lead up to completion, each time, I've surprised myself with the momentary fantasy of never needing to paint (or say, or do) another thing once this is finished.
-excerpt from Bingaman's description of the process behind The Nocturnes