Notes 1984, Part.3
The Super-8 films include some of Huot’s most impressive filmmaking and some of the most impressive Super-8 filmmaking I’ve seen anywhere. Ironically, the handling ease and lower expense of the smaller gauge have resulted in finished films much less personally revealing than the earlier 16mm diaries and much more consciously directed toward audiences: for example, what sexuality we do see in the recent films is in the nature of performance; often Huot and his wife, painter Carol Kinne, design environments, costumes, and sound tracks for comic, pixilated sexual escapades. The Super-8 films continue to reveal Huot’s life, but there is no longer the sense of personal investigation evident in Rolls : 1971. In its place is Huot’s pleasure in recording the beautiful and enjoyable elements of his life and sharing them with viewers.
Scott MacDonald, excerpt from “Robert Huot” in A Critical Cinema, Interviews with Independent Filmmakers, University of California Press, Berkeley & Los Angeles, CA, (1988)
After being so involved in the art world both as a gallery artist and an activist, this something entirely new for me. After producing some of the most extreme, dematerialized, distilled and almost invisible art in the late Sixties, in January 1970 I began a film diary. […] Slowly the impact of my choices began to effect my art in a concrete way. The diary films became more and more a celebration of “nature.” As my awareness of my/our impact on the environment grew, I felt compelled to make my art and life reflect that awareness.