SPOTLIGHT ON A BRICK WALL
Collaboration with Alee Peoples
2016 / 16mm / 8:00


A performance film that navigates expectations of both the audience and the makers. A series of false starts. Dub treatment on the laugh track


"Looking good up front here. How you all doing tonight? This is my kinda crowd."























HALF HUMAN, HALF VAPOR
2015 / 16mm / 11:00
Lathe-Cut 7" Soundtrack Record
& Presentation of contextual moving image artifacts


A mystic's sculpture garden amidst hurricane damage and property foreclosure.


This project began out of a fascination with a giant sculpture of a dragon attached to a Central Florida mansion. The property had recently been left to rot, held in lien by a bank. Hurricanes washed away the sculpture.


I learned about the artist who created this landmark, Lewis Vandercar (1913-1988), who began as a painter. His practice grew along with his notoriety for spell-casting and telepathy.


Inspired by Vandercar’s interest in parallel possibility, I combined these images with text from local newspaper articles in a haunted-house film that both engages with and looks beyond the material world.





























UNDER THE ATMOSPHERE
2014 / 16mm / 14:30


Filmed on the Central Florida "Space Coast", site of NASA's launch pads. Dormant spacecraft, arcane text, activated landscape, and the surface of the image work towards a future-past shot reverse shot.


"Referring to the narrowness of the peninsula, they claimed it would not be able to withstand such a great explosion and would be blown to pieces the moment the cannon was fired. 'Then let it be blown to pieces' the Floridians replied."























WITH PLUSES AND MINUSES
2013 / 16mm / 5:00



"...Stoltz shakes and dislocates audio and image with volume and pitch variations, editing the 16mm film in camera, varying the focus and the shot length of every frame, shifting background and foreground, turning and spinning the camera hand-held positions, and allowing sequences of black that punctuate the image’s algorithms. The filmmaker’s dance transforms abstraction into personal experience. He is an active agent of the surrounding world, and of the opportunities that open and close before us."
-Mónica Savirón, LUMIÈRE Fall 2013








TEN NOTES ON A SUMMER'S DAY
2012 / HD / 5:00



"...The camera in Ten Notes on a Summer's Day fixes on a young woman standing against a painted blue wall, the sun partially lighting her face, the sound of distant traffic in the background. Offscreen, a guitarist plucks single notes, and the woman hums along. When the music falls outside of her vocal range, she switches to a lower octave, her mouth turned up in a small grin. Later, she frowns slightly, seemingly unable to find her note. Gradually her confidence builds and her smile returns, though her humming is no longer anywhere close to the guitar’s pitch. Ten Notes is a marvel; it’s as unhurried and refreshing as this woman’s singing, which, though off-key, produces an unexpected harmony, a little song discovered in the process of its own making."
-Genevieve Yue, Reverse Shot, Issue 33








IN BETWEEN
2006/2010 / 16mm / 4:00



An exercise in permeable architecture, an attempt to walk through a wall.