The piece is built on a framework of tracking down and up a parking garage staircase, with a carwash in the basement, (since demolished) the same take repeated a number of times, and therefore a different, but same repetition. A second strand of the work is formed by an ostensibly unconnected set...
Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.
A surfer, filmed and shown on tv, refilmed on 8mm,and refilmed again on 16mm.Simple loop structure preceded by four minutes of a still frame of the surfer. An image on the borders of apprehension, becoming more and more abstract. The surfer surfs, never surfs anywhere, an image suspended in the...
A small tree filmed on Hampstead Heath is printed out and re-edited at the Film Coop to form a formal abstract sequence bracketed by juddering naturalism. As with other films, the imagery is used away from its context as representation, as the source for an edited construction
Standard 8 colour film, refilmed and slowed down, edited into a formal work on 16mm film, of camera pan sequences of a woman lying naked. Almost abstract images slide from darkness to light and back, repeated, repeated, in a pattern of repetitions that at some point reverses back to the start...
All part of a series called LOGICAL PROPOSITIONS. The simple aim of this series was to didactically select several elements of film naturalism, which work to create the illusion of representation on screen, and make each the subject of a self-descriptive film using that element as subject and...
Lip Sync is about sync sound and the disruption of it. [The film] works by disrupting the element and foregrounding the effect on film, and flattening the representation from image to projected filmstrip.
Scratch begins as a standard 8 film fragment, originally filmed in our 60’s basement kitchen, and reprojected as a loop 5 times with a repeated coda of junk and glitch footage, onto a ground glass screen, refilmed in black and white on 16mm film stock.This sequence then begins a series of...
This film came after Arbitrary Limits, and expanded the aspect of the social context of the film’s production to essentially dominate the latter half of the film, and derail the initial formal plan for filming almost completely. Although this was unlikely to have been the initial purpose, it...
Arbitrary Limits is a documentation, and a documentary, of the making of itself, a self-reflexive narrative that encompasses the relationship between film-maker and sound recordist, and their relation to the ongoing film, a commentary on the film’s production, and the gradual exposition, through...
Using video colorising, pushing u-matic tape –tracking close to breakdown, and slo-mo, a video devoid of narrative structure, interspersed with inserted interpretations on the title and music track, a dance of edited movement in camera, and edit suite.
"After the standard 8 work this was my first 16mm film. As a film it shows all of the tendencies and concerns that preoccupied my ideas in film, and then video up until the present day. At the same time it is a kind of sound-track time-capsule for the late '60s with sound from the moon-shot,...
All part of a series called LOGICAL PROPOSITIONS. The simple aim of this series was to didactically select several elements of film naturalism, which work to create the illusion of representation on screen, and make each the subject of a self-descriptive film using that element as subject and...
A tautology is a circular argument. The film is about framing, about the frame and the image framed, and about the framing of the image. About the image filmed, and the image viewed, and the image received and the links between all three.
Shot in America but edited in the UK, this and NEW YORK STREETS formed a more politicised, agit-prop, kind of production, but closer to the cut ups and scratch video of London Video Arts of the time, and still with some emphasis on formal editing strategies and disruptive soundtracks of the earlier...
In 2008 de-regulated globalised finance capital brought the world to the brink of disaster. Its ideology of market fundamentalism and unconstrained corruption proved to be utterly bankrupt and a recipe for the destruction of the social order as well as capitalist accumulation. In response the...
