Water Water

Water Water

2003 · 11 min

WATER WATER revisits the bathroom location of a previous film WHITE LIGHT (1996). It is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The black and white first part is composed of individually filmed frames (animation) which form shots of interlaced contrary motion that nevertheless can be read as sequences of individual frames, and/or in which alternate frames are lit in contrasting ways so as to emulate negative-positive juxtapositions. In the colour second half, dissolves replace cuts, light softens and contrast decreases. Continuity, by way of isomorphic features in the room, replaces the discontinuities of part one.

Directed by Nicky Hamlyn

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Films

A video work by Nicky Hamlyn

Matrix

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A video work by Nicky Hamlyn

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White Light · 1996

White Light consists of extreme close-up shots of chrome bath taps and their reflections, including the camera lens, which becomes its own subject, as it closes in on its reflection. This material is mixed with rotoscope animation, created on various surfaces including cel and hand-made paper, where scratched lines are lit from an acute angle to create an image from light and shadow.

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Power Hub · 2009

Power Hub is a site-specific time lapse film shot over 24 hours in a disused bus factory in Maidstone, Kent, UK. The film was projected onto the window through which it was shot.

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Double Fence

Double Fence · 2010

Double Fence was shot from the balcony of a B&B in Porto Potenza Picena , on the Adriatic coast near Ancona . The work explores the changes that occur with slight shifts in framings of the same scene, and the dramatic alterations in light, colour , space and movement between early morning and late afternoon. The work is the third in a series that records spontaneously occurring moiré patterns and related phenomena. The multifarious birdsong emanates from a nearby animal and bird sanctuary.

Pistrino

Pistrino · 2003

The film is composed from thirty-second long time-lapse sequences, filmed in Northwest Umbria. Condensing days into seconds, Hamlyn makes use of lap dissolves and time-lapse photography to compress the temporal duration of the Italian landscape. The film invokes some pre-cinematic technologies mainly in the shadow plays where light and shadow manifest as the movement of trees, clouds, and other objects cast by the sun project and dance onto white walls and other surfaces, emulating and interacting with the film’s grain

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Ghost Stories · 1983

Ghost stories opens with a sequence of polemical shots: a mysterious shadow, an ambiguous advertisement which has deeper ambiguities unknown even to itself, and a lengthy quotation from Roland Barthes on the nature of autobiography. These opening shots outline the context in which I hope the bulk of the film will be seen: as a critique on so-called visual literacy, which is frequently based on a complacent mis-reading of images, and also as a rejection of film-biography, whose efficacy depends on such visual complacency. The body of the film consists of fragmentary views of the interior of a house, in which desultory activity occasionally takes place, sometimes in front of the camera, sometimes not. A ghost story is told, firewood is sorted.

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Tobacco Shed · 2010

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Silver Street

Silver Street · 1975

Silver Street was shot in a single day from my student house in Reading, Berkshire, where I studied Fine Art. Shots were made indoors and outdoors every hour. I adopted a shooting system using consistent framings, interspersed with variations. The film contrasts the interior personal space with the noisy street outside. - Nicky Hamlyn

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MovieDocumentary

Minutiae

Minutiae · 1990

Minutiae was made for the BBC 2 programme The Late Show, and was filmed in the same studio. The aim was to make an event-specific work that would contrast with the way the studio appeared on TV.

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