Greg Pope

A time-lapse animation film about the disorientating and unsettling filmic space that occurs on the screen from an upside down view.

In Maas Observation Doing and Pope demonstrate their fascination in the bizarre landscape of the port of Rotterdam, a stretch of 'neo-nature' with little place for humans, where huge machines seem to move around according to a logic of their own. The film begins with images of windmills on the edge of the Maas plain in a montage sequence based on the steady rhythm of the rotating sails. The focus gradually shifts towards activities on the river further upstream. The montage tempo slows down as the mechanical motion gives way to the play of reflections in the water.

Crashing through the Arctic ice and snow - a journey to Joes' grave 1934 - wrapped up in the chaotic beauty of the churchbells of England - white light vision.

Unedited reels of Loophole Cinema material used in multiple performances throughout the 90s. Faces, hands, strobes, mirror, lenses are set up for examination and experimentation.

Shards of emulsion, layered and structured over clear film.

The film was made by scratching stenciled text into the surface of the film material. The text is a synced replication of the lyrics from The Fall song Art Prole Threat. Each word is reproduced on one frame only, appearing in the exact time/ space of the original recording (from The Fall’s 1981 EP ‘Slates’). The original track is intended to be played (loud) in the darkened cinema before the film is played (mute) on the screen directly afterwards.

It Goes Without Saying is a film/sound/performance piece based on a text/poem of the same title. Images in color and black+white are super-imposed from two 16mm projectors. One projector plays a 5 minute color film; this film is played forwards and backwards, continually being re-threaded – we see writing and un-writing, painting and un-painting. The second projector screens a series of writing actions on various surfaces; on rock, on paper, in negative and in revealed invisible writing separated by black intervals. During the performance these two superimposed projections create a flow of repeating actions: creating and uncreating, writing and erasure, color and blackness. The sound is created live by the performer through manipulation of a hand cranked cassette machine, contact mics, guitar pick-ups, looper and percussive machines. The text is read intermittently through the performance.

Almost subliminal lunar images flash by. Contrasts of light and dark are evocative of the mechanisms of filmic process itself - positive/negative. A fantastic, though familiar, moonscape is momentarily exposed.

"Made using lengths of black 35mm movie film [...] the film was attached to a board and shot with a shotgun. The resulting damage was then repaired and the separate lengths joined together in strict order. At its simplest it is a pun on the phrase "to shoot film". My idea was to portray the concept of shooting a film as a physical and literal action. The film can be seen as pure documentation of an act. The damage done becomes the image and the soundtrack." -Pope