The film Paradise North and Sound appears as a distinctive séance or a dream centered on spatial disorientation. Since the historical avant-garde and the Balhaus, art and cinema have been interacting with each other in many different contexts (Hollywood cinema, Joseph Cornell, Weegee, 1960s experimental filmmaking, Fluxus, French New Wave, Warhol) and with different concerns and effects for filmmakers and artists. This film continues reflecting on a complex, problematic relationship between cinema, sound and art, especially as represented by painting and drawing. In a way, it is reminiscent of German abstract filmmakers like Viktor Eggeling’s Symphonie Diagonal, Oskar Fischinger, Walter Ruttmann and Hans Richter whose abstract films were inspired by painting, graphics, drawing, music and the aesthetic ideas declared in Kandinsky’s On the Spiritual in Art. White-Sobieski’s ability to generate film animation as real and unreal at the same time makes him a cinematographer in art and a painter in filmmaking. His lesser-known multimedia art projects (Cityscapes series, Hudson River, Birds, etc.) are cinematic in visual qualities, while his films are recognized as “painterly”. Looking at Paradise North and Sound, the viewer receives a new perspective of the artist’s previous work in abstract film - Moving Paintings (1999-2003), Moving Drawings (2002-ongoing), Mechanical Bird (2003), Terminal Dream (2004), New York City Suite (2005). The specific aura of White-Sobieski’s digitized images alludes to the otherworldly spaces and represents the vertiginous state of mind of his character. Altered perceptions of time and place have appeared earlier in the artist’s more narrative films; in Confession, Before They Were Beatles, Sweet Dreams, Queen Mary; history, landscape, and a trance-like utopia address the past and the future as they collide into one brief moment. Filmaker is in search of an experience of time that is transient and that can only be manifested as “painting of time”. The idea of the film Paradise North and Sound is a continually moving contemplation of success and failure, an attempt to find a balance in time. This film is comprised of a drawn artwork, analog and digital footage, archival images, and a soundtrack that conjure the artist’s inner world. It all translates into lyrical pieces that reflect both delight and an undertow of complex emotion. The filmmaker’s control over the film medium comes from a deep knowledge of the involved technology. He always works without any technical assistance, creating his own codes for each new film. In Paradise North and Sound , the technology is complicated to the extreme; the project took as much hard disk space as a two-hour Hollywood motion picture. Notwithstanding all the complexity of the work, White-Sobieski manages to submerge the viewer into a meditative mode. This mode shifts from watching an image, to being in and part of a psychological environment.