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Jazzy Jazzy Jazzy

2000, 5 minutes, three screen video

A child responds to being looked at by the camera.

Jazzy Jazzy Jazzy - Still

Neither Here Nor There - still

Neither Here Nor There

2001, 8 minutes, three screen video

- Afghanistan as seen on TV - but ultra close-up - touching the screen - not about Afghanistan but about not being able to be about Afghanistan - the spectacle of war at a distance - creating a resistance to TV lies and truth - sceptical not cynical

Unforgettable - that's what you are

2002, Continuous video and photograhic installation

Four generations with shared genes in the matriarchal line - responding to the camera.

This work began as an installation that has been reworked for single screen

Unforgettable - that's what you are - still

Travelling with Mark - still

Travelling with Mark

2003, 6 minutes, three screen video

Music/sound Le Grice
- digital manipulation exploiting the transcoding ‘mosaic’ of video shot on a train journey from Berlin to southern Germany with Mark Webber. Transformations of selected sequences, - slowed, recoloured, compared. New rhythms - slow thoughts inside a train at speed – blurred and fragmented landscape through the window. The sound is produced by frequency manipulation of the train recorded with the video.


2003, 2 minutes, three screen video

Spring and a cherry tree in flower.

Cherry - still

Digital Aberration

2004, 3 minutes

Every cheap visual effect in the editing package and a sound track made with free software from a corn-flakes packet.

Digital Aberration - still

Critical Moment 1

2004, 1 minute

A short work of a child just one year old playing with shells on a beach - close up of hands - inspired by the observation of his own children that is at the centre of Swiss psychologist Jean Piaget's work on the construction of reality in children.

Critical Moment 1 - still

Autumn Horizon number 3

2005, 6 minutes

The last in a series of three screen works exploring alignment of the horizontal. Initially the work was dedicated to Felicity Sparrow on the death of her partner, artist, Ian Breakwell.

New, HD multi camera versions may continue to be made.

Autumn Horizon number 3 - extracts

Unforgettable (that's what you are)

2006, 5 minutes,
single screen new version from the installation

Four generations with shared genes in the matriarchal line - responding to the camera.

This work began as an installation that has been reworked for single screen

Unforgettable - still

Lecture to an Academy

2006, 9 minutes

A work about the giving of voice - its internal and external experience the predictive moment before a word and short term memory after it - immediate past and near futuremixing with the present/presence.

Peter Gidal lecturing - shot in Karlstad Sweden in August 2005.

Lecture to an Academy - still

Of Keys and Beauty

2006, 2 minutes

Forced to wait in a dreary, cold, wet, outside corridor as a studio door had not been unlocked I began to wonder how to rescue a lost period of time. I made a series of images low resolution images later questioning beauty in an edit.

Of Keys and Beauty - still

Anthony Dundee

2006, 2 minutes

A minimal portrait of fellow artist Anthony McCall shot on a series of very low resolution stills in the exhibition and bar at the Dundee Contemporary Arts, KYTN festival 2004.

Anthony Dundee - still

Waiting for Ian

2006, 3 minutes

The missing Ian Helliwell has problems with security at the airport.

Waiting for Ian - still

H2O-0C-24.02.06-12.01GMT - 03,50.40W - 50.16.30N

2006, 3 minutes

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.

H2O-0C-24.02.06-12.01GMT - 03,50.40W - 50.16.30N - still


2006, 3 minutes

Music J S Bach digitally reconstructed by Le Grice





Again Finnegan

2006, 3 minutes

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....”.

Again Finnegan - still


2007, 3 minutes

A light portrait of Fats Waller –“ ‘Taint what you do it’s the way that y’do it “ – asmall comment on art over technology.

Taint - still

Self Portrait - extract

Water Lilies after Monet- extract

Self Portrait

after Raban Take Measure

2008, 8 minutes 20 seconds

Self Portrait looks for an approach to a specific relationship between the duration of a work and material conditions in the projection as did William Raban in the film- performance Take Measure. The main difference is that Raban’s work was made when cinematic media had distinct physical properties linking medium directly to image - this
self portrait recognizes that there is no such simple materiality for cinema following the emergence of digital processes. Instead the work takes a conceptual base – the speed of light and the time taken for light to travel from the sun to illuminate objects on earth –thus the duration of 8 minutes 20 seconds..

Water Lilies after Monet

2008, 3 minutes

Music/sound Le Grice Sound re-mix from AMM The Inexhaustible Document
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 sketch is part of  a larger project ‘Finiti’ .

The sound was made by AMM for an earlier video work but has been re-mixed for this version.


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