Pat O’Neill has been deeply involved in Los Angeles culture since the late 1960’s. A founding father of the city’s avant-garde film scene, an influential professor at CalArts and an optical effects pioneer, he is best known for his short works from the early 1960’s onwards which are highly graphic, layered and reflexive assemblages based on a mastery of optical printing techniques.
In O’Neill’s films boundaries fade, narrative collapses and layers of imagery draw the viewer simultaneously towards and away from linear meaning. O’Neill has combined found footage with experimental montage and compositing techniques to create a graphic language that deals with how different, often disparate elements assembled together in the frame relate to one another. His innovative optical techniques anticipated our digital landscape well before its time.
Several of his many avant garde films produced between 1963 and 2006 are considered classics (especially “7362” (1967), “Runs Good” (1970), “Saugus Series” (1974), “Water and Power” (1989, “Trouble in the Image” (1996), and “The Decay of Fiction” (2002). “Water and Power”, his first 35 mm. feature, which journeys through a California of imaginary intensity, was the Sundance Grand Jury Prize winner in 1990 and hailed as a touchstone for filmmaking in the future. All his work from that decade on has been executed in 35 mm and relied upon the optical printer for principal production.
Throughout his career he has gained an international following with recent retrospectives shown at Art Basel, the Centre Pompidou, the Tate Modern, and Les Abattoirs / Frac Midi-Pyrénées (Toulouse, France). In addition, he has received the Maya Daren Award from AFI and the Persistence of Vision Award from the San Francisco Film Festival along with grants from the Guggenheim and the Rockefeller foundations, the National Endowment for the Arts, the Center for Cultural Innovation, the California Community Fund and Creative Capital. In 2004-06, 40 years of his static work and moving images was the subject of two major exhibitions, one at the Santa Monica Museum of Art and the other at Cornerhouse in Manchester, England. In 2008 at Rosamund Felsen’s Gallery, (Santa Monica, CA) he displayed his first prototypes for 3-d sculptural composites in an installation setting. His work has been featured in such important historic exhibitions as Electric Art (1969, University of California, Los Angeles) and 1991 Whitney Biennial of American Art (New York) and Los Angeles 1955-1985: The Birth of an Art Capital (2005, Centre Pompidou).
Recent museum acquisitions include Berkeley Art Museum and Pacific Film Archive, Hammer Museum, Walker Art Center, and Whitney Museum of American Art. O’Neill is represented by Cherry and Martin Gallery, who in 2015, organized O’Neill’s first continental European solo exhibition at FIAC as well as multiple shows at their 2732 gallery.
帕特·奥尼奥自上世纪60年代起就活跃于洛杉矶的文化界。作为当地前卫电影圈的发起人之一，加州艺术学院内德高望重的教授，以及光学效果方面的先行者，奥尼奥最为人乐道的是他自60年代初开始创作的短片。这些作品充分掌握了光学印片技术的精髓，开创了生动写实的画面与富层次感的综合艺术。
在奥尼奥的电影里，边界变得模糊，惯常的叙事方式崩塌, 层次丰富的比喻使观众对作品的线性意义且近且远。奥尼奥结合了旧片（电影废弃胶片）、实验性蒙太奇和混编技巧，创造出独特的图像语言，截然不同的元素是如何相互关联的。他创新的光学技术之图景是我们身处的数字世界之前身。
奥尼奥在1963年至2006年间创作的多部前卫电影都被认为是经典之作，特别是《7362》(1967)、《运作良好》(1970)、《索格斯系列》(1974)、《水与权力》(1989)、《影像中的麻烦》（1996）和《虚构的衰败》(2002)。他的首部35毫米长片《水与权力》带观众在美国加州走过一段充满想象力的旅程。该片于1990年荣获圣丹斯电影节评审团大奖，并被誉为电影界未来的试金石。在接下来的十年，奥尼奥都坚持用35米毫米和光学印刷机进行创作。
近年来，如艺术巴塞尔博览会、蓬皮杜国家艺术和文化中心、泰特现代艺术馆和图卢兹当代艺术博物馆等都为奥尼奥举办过回顾展，使他的作品在国际上获得了更大的关注。除此以外，他曾获得美国电影学院颁发的玛雅戴仑奖，三藩市国际电影节的视觉暂留奖，以及来自古根海姆和洛克菲勒基金会、国家艺术基金会、文化创新中心及加利福尼亚社区基金和创意资本授予的补助金。从2004年到2006年，两个大型展览都以奥尼奥过去40年来积累的静态作品和动态影像为主题，分别在美国圣塔莫尼卡艺术博物馆和英国曼彻斯特的角屋展出。2008年，奥尼奥在罗莎蒙德菲尔森画廊（加州圣塔莫尼卡）展出其首个3D雕塑装置的原型。他的作品曾经在多个具重要历史意义的展览中展出，其中包括“电子艺术展”（加州大学洛杉矶分校，1969），“惠特尼美国艺术双年展”（纽约，1991）以及“洛杉矶 1955-1985: 一座艺术首都的诞生”(蓬皮杜国家艺术和文化中心, 2005)。
近期收藏奥尼奥作品的艺术机构包括伯克利艺术博物馆及太平洋电影资料馆、洛杉矶哈默艺术博物馆、沃克艺术中心以及惠特尼美国艺术博物馆。奥尼奥的代理机构“奇利与马丁画廊”曾多次在他们旗下的2732画廊为他举办展览，并曾在2015年法国国际当代艺术博览会期间举行奥尼奥在欧洲大陆的首个个人展览。
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