OUR BLOGS

Domestic Landscapes (1991-92) was shot on Hi 8, literally made “at home” using domestic video equipment. Its subject matter is highly personal- perhaps even private and at times very intimate; the

The Stream (1985-87) exists in a number of different versions, with the first completed in 1985 and produced as a two-channel work for tapes to be presented on identical television monitors.

Other Spaces (1986) was made as a companion piece to An Imaginary Landscape (1986), and uses some of the same video material, recorded in the interior of my home in Brixton, London in

On Being (1985) was made during a period when I was searching for ways to use the process of video in a metaphoric way to present aspects of personal experience- to

An Imaginary Landscape makes reference to the title of a series of musical compositions by John Cage. Cage’s influence through Nam June Paik on early video art is significant. Imaginary Landscape

Still Life with Monitor (1984) was made during a period when I was interested in revisiting earlier themes related to my experience and perceptions of broadcast television. My relationship was not

Interlude (Homage to Bugs Bunny) (1983) was one of my ‘personal experiments’ and originally I had not intended to release it for distribution. Initially I had been interested in the soundtrack

This tape began as an idea for a piece which would link to The Room with a View. Having worked with photography as an influence on memory- I decided to look

The Room with a View (1982) is ‘about’ photography, or more accurately, it is about the view that the camera gives us of ourselves. The central theme of the tape is

Chris Meigh-Andrews’ Distracted Driver is, compared to Orange Free State, a simple, meditative piece. The familiar screeches of Bernard Herrmann’s score for the shower scene from Psycho are matched to grainy, blurred