In a synchronistic way, the Jungian term of great significance for Carolyn Carlson, her art is in accord with Hölderlin's phrase, "Poetically, man dw… - Damian Pettigrew

Italo Calvino said the artist reveals that bit of truth hidden at the bottom of every lie. Art is all about the art of lying. The artist’s imperative is to create a supreme fiction, a lie that, paradoxically, discloses a truth. It's precisely this kind of paradox that Calvino and Fellini adored.

Without once compromising his artistic integrity, Fellini imagined a body of work -- as opposed to a suite of spin-offs, remakes, potboilers and so on -- where each production can be ranked as among the finest of experimental films ever to reach and influence an international public. There is a breathtaking scope to that achievement and great courage in the process: surmounting unbelievable resistance from producers, enemies of all kinds and jealous colleagues, career reversals, and poor health, Fellini held true to his own vision of cinema forged in the smithy of his soul.

One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused.