White Dust

Jeff Keen had a chance encounter with a collection of old 78 speed records at a Brighton flea market and used it as an opportunity to create a surrealist film (naming it after the poetry collection by André Breton). A requiem for B movies and the marginalised popular side of cinematic history.

This early quick-fire cut-up animation melds machine gunfire with scratched film. The soundtrack was made by Keen in 2007 with a wasp synthesizer and a shortwave radio.

In Cineblatz, the viewer is subjected to a high-impact barrage of evolving images, at once comic and terrifying. Glossy magazines are cut up and reconfigured, newspaper pages are defaced with animated squiggles, comic-book superheroes fly out, over and through at superspeed. Pictures appear only to burn up or be torn apart, toys dance in ferocious stop-motion before melting into pools of plastic decay, a hammer plunges down on an image of the assembled House of Commons - all to a crackly soundtrack of treated shortwave static. It is a hyperkinetic panorama of 1960s popular culture in meltdown, where seemingly nothing stays still for more than a single frame, as the artist ejaculates ideas onto the screen faster than the eye can properly register. Lasting just three minutes, Cineblatz is exhilarating, orgasmic even--but also thoroughly exhausting.

Various different holiday locations ar joined together through the pleasures of ice cream in The Mutt & Jeff Icecream Sundae, while in Mothman the strange title character crawls through roof-top windows and we see footage of a funfair. These two films have many similarities with the other Keen diary movies but have always been shown in this pairing, and under this title.

Made between 1970 and 1975, Jeff Keen's films always contain internal layers and films within films. The twenty-four films here include hand-painted work, animation and montage.

This relatively unknown Jeff Keen film presents an insistent series of exquisitely composed action and animation sequences and must be one of the only 8mm 'cinemascope' films in the world

Made to represent an entire cinema programme, Meatdaze consists of six sections that include cartoons, supporting and main features.

The Artwar face peers through painted celluloid and a barrage of explosions and film noise.

Comics, monsters and a zombified Keen are gently desecrated in this paint-flecked film that also features a picture of Jackie Keen crying heart-shaped tears.

From spinning paper guns to pulsing television screens, from zooms, crosscutting and painted film surfaces to burning paper, Jeff Keen uses all the effects at his disposal to make a series of extraordinary animations where movement is never allowed to stop.

Breakout is an unfinished film and, unusually for Keen, contains a loose narrative. It presents the story of a young man hounded by a large pink Pontiac Continental.

White Lite is something of a mystical film, evoking the feeling of going 'through the looking glass' to another world, despite the fact it was largely shot in the flat of its director, Jeff Keen. The film greets us with the invitation "meet anti-matter and the bride of the monster", pointing to Keen's love of B-movies (and a reference to Ed Wood's The Bride of the Atom, aka The Bride of the Monster [1955] as it was later known).

One of Jeff Keen's diary films. Keen made many diary films with his daughter, wife and friends in the late 60s and 70s. These were edited in camera and used multiple exposures. They would then be projected in various combinations though usually as a four-screen.

Rayday Film was shown projected in several 100-foot length parts from multiple projectors. The friends and family who featured in costume and character within - like Motler, the Word Killer who reflects Keens preference for action over thinking - performed similar actions in front of the screen. After a final performance in 1976, Keen spliced the parts together so it could be shown according to normal cinematic convention.

'Afterblatz 2' was shot on video and screened alongside 'Omozap Terribelis'. It uses the toy 'My First Sony' to present a number of computer-generated drawings.

Treating apocalyptic and aggressive imagery with silence and slow washes of colour, Jeff Keen exhibits and works against his usual tropes.