Nick Collins’ films consists of an indeterminate, poetic, and observational statement that, combined with a phenomenal sensitivity to light, movement and stillness - offers a space for reflection on landscape, cinema, sound and image.
Michael Mazière is an artist, theorist and curator whose practice encompasses the production of artworks, the curation of exhibitions, lecturing and writing about artists’ film and video. He has been making films since the late 1970s up until today.
Neil Henderson’s work involves varied ways of mapping and exploring site, strata, and landscape. With static long takes, Henderson uses the landscape as a formal structure, reflecting on presence and place, repetitive variations of similar subjects/objects in a way that reminds us of Robert Smithsson and Richard Long's land-art, and photographic work by Ger Dekkers and Jan Dibbets among others. For example in "Tidal Island" (2014), Henderson returns to the site of a circular man-made island off the east coast of England.
"Nicky Hamlyn has developed a highly individual style in his precise, formal approach to filmmaking. ‘Style’ might be construed as a pejorative term in the context of avant-garde film, which seeks to undermine pre-existing and over-determined methods of filmmaking, but I simply mean that his films present a way of looking, a way of working, and a particular sense of metre, that are unique.