Jeff Warrin is a Bolinas, California-based filmmaker, photographer and installation artist.  He has presented work at the Whitney Biennial, the New York Museum of Modern Art, the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, and the Sundance Film Festival.  

As a member of the collaborative art trio, Silt (1990-2005), he co-created a body of work that explored both the intimate and expansive potentialities of the projected image, while engaging in paranaturalist inquiries into the layers of form and history in a given landscape.

In 2005, he returned to still photography as a means to “scale-down” from the large-scale installation/performance work with Silt.  His recent photographs using long-exposures and a hand-held camera come out of a somatic and gestural participation with the wild landscape surrounding his coastal home.

In 2015 he founded a production company, Metabolic Films, and began producing and directing narrative films that explore the reciprocity between human perception and the landscapes we inhabit.  The narrative short, “The Far Near Shore,” was completed in 2017. He is currently in pre-production on a short, based on a story by Anton Chekhov.

The early Super 8 films of Silt, like “Kuch Nai” and “Shadows of the Son” —both award-winners at the San Francisco International Film Festival, used elaborately primitive re-photographing setups, projecting through water, smoke and other materials to create a handmade, dimensional cinema.  By the mid-nineties these apparatuses became part of live performances, where multiple projections created a combinatory choreography that extended the human touch into the field of projection.  The pieces, “Landsend” and “For the Unaided Eye and Hand Lens,” both performed behind a diaphanous, rear-projection screen, invited viewers to connect the space between the images and the makers.

By the late nineties Silt’s work had expanded out of a traditional “screening” context and began incorporating sculptural and kinetic objects as three-dimensional extensions of the moving image.   By activating an entire gallery as an image space, viewers were encouraged to participate perceptually/bodily in a pluridimensional environment.  “All Pieces of a River Shore,” an installation/performance at the 2002 Whitney Biennial, incorporated a 25-foot long hanging projection apparatus which spun around the gallery space like a cinematic orrery, encircling the audience.  The installation, “Field Studies #3,” part of the 2002 Sundance Film Festival, invited viewers out of the theaters and into an enormous tent pitched in a snowy courtyard outside, where blocks of ice and pools of water transformed images into spatial catalysts. 

In the years after Silt’s hiatus Warrin has used photography as means to observe his immediate environment.  While living in San Francisco and Los Angeles he explored cracks in the urban landscape, places at the edges of the designed and maintained city, where an ephemeral architecture of entropy meets the ever-ready vitality of weed-wilderness.  Here he engaged in a shadow archeology where cast-off shoes and abandoned lots offer “Signs of Life” amidst a culture of erasure.  Conversely, his “non-urban” photos from this time seek out traces of human inscription upon the natural landscape.  



Born in Plainfield, New Jersey, 1965

Lives and works in Bolinas, California.    



"The Language of Prehistoric Sound," Farmstand Gallery, Bolinas, CA             March, 2017

Stone Soup, “Boutique Vizique,” Ghent, Belgium            June, 2011

Sounds Like Art (part of Lost Treasures: From Bay Area Art Archives), Kadist Art Foundation, San Francisco, CA        May 8, 2011

Radical Light: Alternative Film and Video in the San Francisco Bay Area, “Pieces of Eight: Fragments, Curiosities, and Hidden Realities,” Pacific Film Archive, Berkeley, CA     March 2, 2011

Radical Light: Alternative Film and Video in the San Francisco Bay Area, “1990-1999,” Pacific Film Archive, Berkeley, CA    November 21, 2010

Strange Gallery, Los Angeles, CA                    April, 2010

Ann Arbor Film Festival, Ann Arbor, MI                March 18-19, 2004

Time-Based Art Festival,  Portland Institute of Contemporary Art, Portland, OR        September, 2003

2003 Sundance Film Festival, Park City, Utah            January 17-19, 2003

PENUMBRA, Artist Television Access, S.F., CA            September 22, 2002

2002 Whitney Biennial, Whitney Museum of American Art, NY    May 2002

The Seventh Art, San Francisco Museum of Modern Art, SF, CA     March 14, 2002

San Francisco Cinemateque: 40 Years in Focus,  44th San Francisco International Film Festival            April 29, 2001

A Place Not Like Home, Anthology Film Archive, NY, NY        November, 2000

hearmusic w/ John Ingle, Headlands Center for the Arts, CA    September 24, 2000

Black Box, California College of the Arts, Oakland, CA        February 25, 2000

Museum of Modern Art, NY, NY                    April 23, 1999

Intimate Worlds, New York Museum of Modern Art, NY, NY    Feb.19, 1999 

Projection Art Lab,  The Lab, San Francisco                November 22, 1997

Bay Area Now, Yerba Buena Center For the Arts, , S.F.        June- August, 1997

VIENNALE; Vienna International Film Festival, Austria        October 28, 1996

Wettwerbren, Hamburg International Film Festival, Germany    June 1997

Questions of Intimacy, Image Innovation Symposium,  Rocky Mountain Film Center, Boulder CO    Summer, 1997

Projection Still Gallery LASCA, LA, CA                 April 1997

Eighth Floor Gallery, NY, NY                        May, 25 1997

Dreaming in the Dark, Chicago Filmmakers Chicago, IL        April, 1997

US Super-8 Film/ Video Festival, Rutgers, Univ., NJ        February 7&8, 1997

New Bay Area Work, Artist Television Access, S.F., CA        December 7, 1996

Texture of Memory, Film Arts Foundation Festival, S.F., CA        November 3, 1996

Naked 8,Melbourne Super-8 Kiosk Film Festival, Australia        October 26, 1996

39th San Francisco International Film Festival, CA            May 1996

Between Screen and Page: the Motion of the Written Seen,  San Francisco Cinematheque, CA         March 29, 96

homescreening, San Francisco Cinematheque, CA             December 16, 95

Serendipity, Pacific Film Archive, Berkeley, CA            December 5, 1995

Melbourne Super-8 Kiosk Film Festival, Australia            September 16, 1995

Born of Fire, Gilman Street Gallery, Berkeley, CA            July, 1995

San Francisco Cinematheque, CA                    September 7, 1994

New Journeys, New Sensations, 37th San Francisco International Film Festival, CA            May 1994

London Filmmakers Co-op, UK                    March 11, 1994

AVE Festival, Arnheim, Netherlands                    November 4-10, 1993

Terra Incognita, Film Arts Foundation Festival, S.F., CA        November 4, 1993

Disorientalism, ATA Gallery, S.F., CA                June, 1994

Chicago Filmmakers Chicago, IL                    April, 1993

Den Haag Art Institute, Netherlands                    May, 1993

HBK, Braunshweig, Germany                    February 7, 1993


SOLO SHOWS (w/ Silt)

Selected Works, Chicago 8: Small Gauge Film Festival,  Museum of Contemporary Art, Chicago, IL   January 6, 2015

Parallax, Headlands Center for the Arts, Marin Headlands, CA    November 16, 2003

LBRTR: Interference and Periodic Objects,  The Exploratorium, SF, CA    November 11, 1999

Field Studies # 2, Headlands Center for the Arts, Marin, CA        October 23, 1998

Selected Works 91-98, Millennium Film Workshop, NY, NY    May 23, 1998

Selected Works 91-98, Anthology Film Archives, NY, NY        May 22, 1998

Field Studies #1, Museum ofModern Art, NY, NY            May 21, 1998

New Work, Orgone Cinema, Pittsburg, PA                May 16, 1998

New and Selected Works, UC San Diego, S.D., CA.            November 23, 1996

New and Selected Works, Edison Electric Gallery, Vancouver, B.C.    December 1&2, 1995

New and Selected Works, 911 Media Arts Center, Seattle, WA    November 30, 1995

Total Mobile Homesic, Total Mobile Home Micro Cinema, SF, CA    November 3,1995

New and Selected Works, First Person Cinema, University of Colorado, Boulder, CO   February 20, 1995

New and Selected Works, Utah Film & Video Center, SLC, UT    February 17, 1995

Collaborations & Encrustations, Filmforum, Los Angeles Museum of Contemporary Art  December 4, 1999

Reentries and Selections, ATA Gallery, S.F., CA            December 11, 1993

Erosions & Accretions, Chicago Filmmakers, Chicago, IL        May 29, 1993

Erosions & Accretions, San Francisco Cinematheque, SF, CA    February 4, 1993




1st Place, New Visions, 37th San Francisco International Film Festival, 1994 (Kuch Nai)

Certificate of Merit, New Visions, 39th San Francisco International 

Film Festival, 1996 (Shadows of the Son)

3rd place, US Super-8 Film Festival, 1997 (Shadows of the Son)

San Francisco Bay Guardian, Goldie Award, 1995

AEA Award, Bay Area Video Coalition, 1998



Penny Stamps Distinguished Visitors Series, University of Michigan, March 2004

Headlands Center for the Arts: Artists-in-Residence February-December, 1998

The Exploratorium: Artists-in-Residence, June-November, 1999



San Francisco Art Institute, Visiting Faculty, 2003-2004



Narrative of an Expedition..., WORK Gallery, Ann Arbor, MI    March 10-20, 2004

Parallax, Headlands Center for the Arts, Marin Headlands, CA    November 16, 2003

Luminal Lines, Time-Based Art Festival, Portland Institute of Contemporary Art, Portland, OR        September 2003

Field Studies #3, 2003 Sundance Film Festival, Park City, Utah    January 17-19, 2003

All Pieces of a River Shore,  2002 Whitney Biennial, Whitney Museum of American Art, NY, NY                May 18-19, 2002

The nocturnal movement of solvents and radioactivity, under the direction of black ants and honeybees,  w/ SF Cinemateque, Hunter’s Point Naval Shipyard, SF, CA        July 2001

Handscrolls, Refusalon (w/ FAF), San Francisco, CA         May 2001

Kymatic Projections, Headlands Center for the Arts, CA        April, 1998 

Pnumbra (black box), “Black Box”, CCAC, Oakland, CA        February 2000

Apocatastasis, Headlands Center for the Arts, CA,             March 2000

LBRTR: Interference and Periodic Objects, The Exploratorium, San Francisco, CA,                 November 1999

Field Studies #1, Museum of Modern Art, NY, NY            May, 1998

Lagoon, Headlands Center for the Arts, Marin Headlands, CA     July, 1998

A Tent is a Soft House, The Lab, San Francisco, CA            November, 1997




Eclipse (1999, 15m., S-8, multiple projectors)

Chromatic spectra in aqueous medium (1999, 3min., 16mm)

Archaeopteryx dreaming, (1999, 7min., 16mm)

Paranaturalist Mirror, (1999, 1.5 min., 35mm)

Kino Eyedeograms in Plant Morphology #6, (1999, 9min., 16mm) 

Urphanomen (1998>, 10min., S-8, multiple projectors)

Sisyrinchium Californicum, (1998, 2 min., 35mm)

For the Unaided Eye andHand Lens (1997>, 10 min. S-8, multiple projectors)

Shadows of the Son (1996,7 min. S-8)

Let’s Go To Bury (1994, 6min., S-8, multiple projectors)

Aspiratia (1994, 15 min., S-8)

Kuch Nai (1992, 38 min., S-8)

Grapefruitfilm (1990, 2.5 min, S-8)

Conflict (1990, 9min.,S-8, multiple projectors) 




University of Michigan, 2004

California College of Arts and Crafts, 1996-2005

San Francisco Art Institute, 1993-2002

California Institute for the Arts, 1996, 2003

California State University Sonoma, Hutchins School, 1995-96

Film Arts Foundation, 1993-99

San Francisco State University, 1994-95

University of California, Berkeley, 1996-2004

University of Colorado, Boulder, 1995



Steve Anker, Kathy Geritz, Steve Seid (Editors).  Radical Light. Berkeley: UC Press,  2010.  pgs. 212, 213, 218, 219, 254, 293, 294. 337 n13, 291

Mark Johnstone and Lelsie Aboud.  Epicenter: Sf Bay Area Art Now. San Francisco: Chronicle Books, 2002.  pgs. 226-229

The NY Museum of Modern Art, SF Cinemateque (Editors).  Big as Life: An American History of 8mm Films.  “I Came into an 8mm World” -Kathy Geritz. San Francisco: SF Cinemateque, 1999.  pgs. 39-50

Keith Evans, Christian Farrell, Jeff Warrin.  “Silt…On Seven Giant Sea Turtles.” Cantrills Filmnotes vols. 79,80 Nov. 1995: pgs. 67-70