An impromptu portrait of Jonas Mekas shot at the Serpentine Gallery, London on the occasion of a celebration of his 90th birthday. All made in a single take whilst Mekas videos Mike Figgis playing Flugel horn and Rosey Chan plays piano.
Originally shot as part of Finnegan’s Chin, this sequence is re-edited as a portrait of performer Jack Murray. It continues the fascination of the forever repeating folk round “I knew a man called Michael Finnegan....”.
This film is the beginning of an examination of the perceptual and conceptual structures which can be dealt with using pure colour sequences in loop forms with pictorial material. In this case the pictorial material is confined to three landscape locations, and the structure is not mathematically...
A double projection of images of lapping water and the Battersea Power Station all transformed by negative positive superimposition creating a moving Bas-Relief effect.
Dark Trees starts with a view from a window in silhouette through which one sees a garden, tall trees, rooftops and the sea. This scene orientates the viewer, but we are quickly taken into an imaginary space offered by the trees, shot against a late evening sky. A floating camera and the dense...
A simple event becomes rhythmically complex through changes of speed and multiple superimposition. The title refers to the inevitable inclusion of detailed meta-data in all future digital recordings – locating for example global time, place, temperature for example.
Loops. "A four screen film projection onto four vertically placed screens, which span the gallery space from floor to ceiling. The wall surface is transformed into a rippling column of colour, accompanied by a soundtrack of running water. First shown as part of the Film Action and Installation show...
This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes. Only the original copy of this film exists – it cannot be printed and is therefore projected only on rare occasions. As with other Le Grice films from the...
Double projection. No images, only colour, first changing slowly in spectrum order, yellow, or red, purple, blue, green, yellow.. and in other directions and in reverse order… gradually getting faster… splits into four areas equal side by side… same action independently in each area… still...
As the title indicates this is a deliberately academic work, conceived in much the same way that a composer might make a 'study'. It is not about a Cezanne painting, but attempts to apply certain concepts related to the relativity of changing viewpoints in observation and recording. In much the...
The travelogue footage that appears here – the landscape rushing by, fragments of cityscapes, figures in cafes, forests, and beaches – is reminiscent of other videos made by Le Grice since the 1990s. The sense of foreboding is unique though. It comes across in the colours of the superimposed...
Illuminated by two blank screens projected from empty slides, four performers read texts drawn from the history of cinema – a dictionary of cinema, the chemical production of film materials and a fragment of a Hollywood narrative film script. The readings are treated as a musical quartet with a...
A single performance made at the National Film Theatre against a blank screen – the performer twice leaves the stage on one side, exits the building and re-enters the stage on the other side – the duration was determined by the time it took to walk out of sight around the theatre.
"My experience of Monet’s large-scale panoramic paintings of his water lily garden when I was about 14 years old became a crucial artistic memory. There have been a number of versions of the material I shot in about 1984 of water lilies and reeds in a pond. This [...] is the latest version and is...
A person walks backwards and forwards across two white screens casting a shadow, later his actual shadow is joined by pre-filmed shadows performing the same actions. Gradually the actions within the film deviates from what is directly possible for the shadow cast by the person in real TIME/SPACE,...
