Joan of Arc in flames, women and technological innovation, and the retinal quirks of color perception—there is a complex swirl of ideas and images in the current exhibition by London-based artist Aura Satz at Paradise Row. Collectively, they present a kind of shadowy gestalt, using the cover of darkness to draw links between dreamily polychromatic, and strangely muted, photographic and moving image work. Up close it is a different story. Beyond the formal cohesiveness of color content and abstraction, each work is a different take on Satz’s historically rich subject matter, which includes the story of Natalie Kalmus—a color adviser on the majority of Hollywood’s Technicolor films from 1934–49—as well as a general account of the use of color in early twentieth-century film. The exhibition’s centerpiece is the eight-minute, high-definition video Doorway for Natalie Kalmus (2013), a lyrical dedication to the color expert, in which the interior of a functioning 35mm color printer is captured with finely detailed, macro-lens close-ups. The effect is quite surprising. Rather than a series of lackluster, mechanics-in-motion images, footage of the printer’s workings looks like amorphous, telescopic photographs of outer space, or the strange, cellular landscapes of the human body. Progressing from slow details to a …