Jeff Keen

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

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.

Jeff Keen's daughter gave him some music and sound effects recorded at the cinema and invited him to use it as the basis for a film. He added a plastic Hitler mask from Brighton pier and created this red and blue-dominated film that runs at a distinctly different pace to the rest of his work. Its reflective tone matches the mood of its title and features such imagery as a blindfolded artist painting.

This bright animation cuts from interiors to exteriors and pushes pictures of Keen at different ages up against violent actions and symbols of violence.

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.

'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.

Produced by Jeff Keen for looping in an exhibition context.

The Keen family go on holiday in the jungles of the English countryside while the mysterious Silver Head - Jeff Keen wearing an inside-out, silver-lined photographic paper bag - haunts Brighton and the snowy fields of winter. Part diary, part fantasy.

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.

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.

Omozap is a gun-wielding wildman and Keen anti-superhero akin to The Punisher. Compulsive animation and action look to the Artwar films and videos to come.

A deliberately non-synchronous film, shot in 8mm with the sound on tape. Piero Heliczer reads his poem "The Autumn Feast," and the visuals interact with, but does not literally represent, what is read.

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.

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. Rosa Canina was always show in the bottom right-hand corner

America comes to Brighton as three beatniks hang out, listen to records and smoke before strange hats appear out of nowhere and a cartoon bubble suggests they go to the cinema.

This vibrant montage of colours and positive and negative images shows Jeff Keen filtering and reflecting on his previous films.

The Artwar loops were made for non-cinematic exhibition and go from harsh film surface noise to colour bars and other video effects filmed from the TV. These can be watched as individual films or as loops.

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.

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

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