Clay Mills is a filmmaker, photographer and writer.

To him, film lends itself to move like dreams and memory impressions without the need to resort to the cheap tricks of the dream-like, dream and flashback sequences, and the trippy. He believes film is a form that can intuitively make sense while watching it, while — like a dream — loses its sensibility in the act of explanation. This is where “movie magic” lives.

Clay’s photography attempts to capture what has become tabooed. He photographs friends as if they were strangers, and the “ugly” with uncomfortable covetousness. His photos have been described by the Ogden Museum of Southern Art’s Curator of Photography as “like Cartier-Bresson taking the decisive moment, but [instead] taking the indecisive moment.”

Mills’s hope is that his work is adequate to what Baudelaire tasked us with: to capture, “the fugitive, fleeting beauty of present-day life… often weird, violent, and excessive.”