San Francisco’s Jeff Warrin, Christian Farrell, and Keith Evans, collectively known as silt, turned to nature to destroy and transform film, burying filmstrips in the ground to create natural blotches of decay on images in order to highlight the materiality of the work and emphasize the way time operates on and through the cinematic apparatus. Silt would show their work as multiple projection performances, and Brian L. Frye writes that the group “brought the craft of filmmaking back to the movies and served as a touchstone for many other young Bay Area artists” in the 1990s.