Tony Sinden

An impending gunfight moves from a conventional confrontation to a confrontation with audience expectation as camera action predominates. A film in which the less you see of what you expect - the more there is exposed.

Between is a highly-wrought piece of structuralism which makes no concessions to its audience…it implicates viewers in what is happening on the ‘other side’ of the screen… and one is fully conscious of the role of the photographer. The camera is made to approach a lit screen in a viewing theatre before turning full circle to approach the projector… the trip was made only once, but the sequence is repeated by an intricate process using successive generations of prints – a print from a print etc… Here there is a progressive deterioration of ‘quality’ and the image breaks up into signs and symbols and finally into abstract fragments. What we have then is a clear case of art as truth through fabrication, with the imperative that the fabrication, the contrivance, must be revealed…

A kaleidoscopic experimentation in colour, in which familiar Brighton locations are distorted and interspersed with imagery from adverts and film clips.

The Pink Auto, screened using two projectors, is one of the very first examples of expanded cinema. Jeff Keen walks as a zombie and carry his dead bride through brown English fields.