Jeff Keen

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.

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.

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.

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.

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.

Jeff Keen processes his cinematic past in this filmic attack on his back catalogue.

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.

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

Named after the horror film White Zombie and the rom-com Red Dust (both 1932), White Dust follows the friends and family of Keen while they explore archetypal characters of Hollywood and myth. These unresolved episodes look back to American film serials.

Stealth bombers hover over crashing waves and ruined land. Using found footage and several thick layers of video, Jeff Keen presents and visceral version of Armageddon

Experimental animation created using a video pen.

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

'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.

This version of Artwar builds from performances with paper masks and implements and various sequences of gunfire.

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.

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

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

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