1975, B&W, 10 Minutes, Optical sound
This film is
a continuous take outside a tigers cage in
Regents Park Zoo. During the first half of the film the
camera moves independently of the tiger between two fixed
points. These points were determined by the length of
the tigers walking path. For the secound half the camera
paces in synch with the tiger.
1976, Color, 6 Minutes, Silent, 24 fps.
This film explores
the transformation of an image from
color negative to color positive on one film stock. The
Still life was painted its color negative during the
filming and then the exposed film was processed and printed
on color negative printstock.
1975, Color, 5 Minutes, Silent, projected slow (12fps)
This film relates the method of filming forwards and
backwards with the activity of taking a walk and retracing
ones steps. The film was shot by taking single frames
forward and then back single framing for the return journey.
1975, Color, 3 Minutes, Silent, 24fps.
This film contrasts the concepts of relative motion and
absolute motion. The speed and direction of the car and
clouds, the spiralling motion of the camera, and the
stationary factory chimneys all combine to produce the
illusion of space within the frame.
1976, Color, 3 Minutes, Silent, 24fps
This film uses
the image of fireworks (points of light)
superimposed in the camera and in the optical printer until
the surface of the film begins to bleach out.
1977, Color, 6 Minutes, Optical Sound
This film was
made by superimposing in the camera six
takes of myself playing the flute in six different
positions around a circle. With each shot I randomly
began playing "Row, Row, Row Your Boat". The resulting
film shows a unique rendition of this classic round.
CAPE WRATH - LONDON:
1977, Color, 10 Minutes,
This film is a travelog which shows the relationship
between the car and the weather. The focal point is the
windscreen and the structuring elements, the rain and the
Color, 10 Minutes, Optical sound
This film contrasts
the mechanized activity of a plane ride
and its effect on one's awareness or even ability to see
the passing landscape, through the use of a passive picture
and an agressive sound track.
1977, Color 3 Minutes, Silent, 24fps
Time and movement
have traditionally been used to establish
the illusion of space in film. In this film I have tried
to de-emphasize both these illusionary properties by
altering the space within the camera rather than the space
1978, B&W, 3 Minutes, Silent, 24fps
This film was
hand wound though the camera backwards and
forwards as the waves on a beach built up and broke on
THE GATE: 1977, Color, 10 Minutes, Optical sound
was triggered by a foot pedal in time to music I
was playing on the flute. The sound of the flute and camera attracks
1978, Color, 6 Minutes, Silent, 24fps
This film consists
of five hours continuous observation
from a static viewpoint in the Lake District. A powerful
telephoto lens was used to focus on the changing landscape.
This film synthesizes the pattern of observation and that
of recording mechanically the changing landscape.
FOR SUNLIGHT, PIANO, AND 45 FINGERS: 1979, Color,
10 Minutes, Optical sound
were needed to play the film soundtrack mimicing
the sun's movement over four months on piano keys.