Interieur Interiors: To A. K.1978

With special assistance of Ann Knutson. "Grenier's great skill is that by means of shifts of focus, by subtly altering light level and shadow, by moving the camera axis, by playing upon grain, contrast and surface texture, he can provoke constant mystery as to what exactly we've just seen, are seeing, will see next." – Simon Field, Time Out, May 1980 "One striking aspect of INTERIEUR INTERIORS (TO A. K.) is that each specification of a spatial reading has a short perceptual life. If it is not renewed and reinforced the viewer soon loses it and is confronted again by an indeterminate space, which can be changed almost at will. Grenier relies on two kinds of factors to achieve these temporary specifications: motion, which is itself unambiguous if in a direction parallel to the screen and which automatically defines a recession; and the insertion of a recognizable element. When the two factors appear together, even for a moment, the cinematic space is transformed into one of representation." – Graham Weinbren and Christine N. Brinckman, Millennium Film Journal "... And although we may repeatedly be laced back through the spatial ambiguities and the similarities of light reflection (a kind of sensuous and tendentious voyage), what Grenier leaves us with is finally not the realization that lines and shapes become objects, nor that objects deliquesce into abstraction, but that both object and abstraction can be accessible at the same moment. That is what is so demanding and so unrelenting." – Martha Haslanger, Downtown Revue, Winter 1980