Purify - ATŌMI2020 - MUSIC VIDEO, DIRECTION
ATŌMI - Purify
Direction : Alessandra Leone
Camera : John Burton, Johan Karlsson, Fredrik Karlsson, Marzio Mirabella, Alexander Hoffmann, Embara Film, Alessandra Leone
PURIFY is a smooth slow cinematic ritual of contemplation of nature.
The continuous vibrating sound makes you sync and tune in physically, from very deep inside. Sculptural and painterly dimensions are rendered in transition.
We drift through infinite dimensions of places. It’s a drifting that brings a very physical sensation of vibrating light, earthy smells, wet soil, and the rustle of waves. You can almost touch the wet rocks and feel the waves’ trail of lather.
The camera and waterbodies movements are edited right at their highest peak to build up altogether until the end.
PURIFY is a conversation between infinite landscapes, and the rhythm of each landscape is punctuated by the interplay of light/matter, and the higher pitch drops. A map of connections unfolds, evokes a feeling of contemplative spaciousness, hand in hand with ATŌMI's rumbling, humming drone sounds of low crackling frequencies. Hypnotic and moving.
The album's concept is the outcome of Lorenzo's research on theories drawing the hidden connections between frequencies, colors, harmony, and the human being, on a smaller and bigger scale. Each track is then specific to a world within. There is something to PURIFY, maybe its form - an improvised session-, that feels spontaneous and grounding, and for me, this translated immediately into the act of slowly moving towards. The video is a journey into re-discovering a longing for connectedness and the primitive, fundamental need to closely feel the rhythms of nature and its effortless gigantic beauty. The human body is constantly present in all the work I've done in the past, but for PURIFY, somehow, it became more about the ABSENCE of it. But there is a lot about the physicality of the body, even though that’s not directly visible.
All that thinking frequencies and colors in connection to - basically - everything made me consider going back to some earlier experiments with infrared-sensitive cameras. Capturing light that we cannot normally see resonated with the main concept, a bit like tracing all that linking lines. Cameras tuned differently ended up giving an utterly unique variety of images, and the visual narrative is built around these qualities, intrinsic to the tools. I originally planned on working with 3 different DoPs in Europe and the US. The plan was to join them in-situ and focus on one of the three types of light - infrared, natural, and artificial light-.
Then the pandemic happened, and borders were suddenly closed, so it became a mix of content we shot around Germany, and remotely commissioned and sourced material. This gave a sort of new meaning to it, where the expanded consciousness experience is being built up by a decentralized look at nature.