INGRID

Ingrid Gipson was a prominent Dallas fashion designer in the 80s who dropped her life and moved to the Oklahoma woods in order to pursue a personal and creative existence. She describes the life she now leads as a more meaningful one than she was ever able to have in her former pursuits as a business woman, wife, and mother. Since Ingrid’s move to the woods, she has become a reclusive hermit and spends her time creating sculptural ceramic art and structures on her property out of rocks from the nearby creek. It is a never-ending project.

Ingrid fell into the social roles she played in her Dallas life after growing up in the 50s, when women weren’t encouraged to have the choices we have today. She was a mother, a wife, and a successful designer in the Dallas fashion world. Although she was filled with a consistent feeling of unease about whether she had chosen those roles or society had chosen them for her, finally resulting in her dropping everything to run into the woods and find a life that fit her specifically.

Ingrid peels off the layers of this woman’s persona, questioning what would drive a successful Texas fashion designer to immerse herself in nature to create and become an entirely self sufficient woman of the woods.

“Ingrid gently unravels Gipson’s life in exquisite detail through stunning cinematography and carefully composed shots which showcase the elements of artistic and rural work that make up Gipson’s world.” — Farrah Kazemi, Independent Magazine

“A lyrical, poetic ode to its subject, 74-year-old artist Ingrid Gipson, Ingrid transcends mere portraiture and involves the viewer in an act of cinematic intimacy that is as metaphysically profound as it is visually beautiful.” — Christopher Llewellyn Reed, Hammer to Nail

“At just under an hour, Maltz finds the perfect length to tell Ingrid’s story, neither overstaying her welcome nor leaving us with too many questions. Ingrid is an intimate and fascinating portrait of an equally fascinating person, one that in many ways we might strive to be.” — Shelagh Rowan-Legg, Screen Anarchy