Stripping vintage lengths of 16 - and 35 - mm film of their emulsion and dissolving the murky material into clear acrylic paint which he then airbrushes onto canvas, Zilm collapses entire films — close - ups,
slow pans, fast
tracking shots, high angles, medium angles, reverses, zooms, aerial shots, encoded soundtracks — into mysterious black - and - white paintings that appear to be film stills in their own right.