Amy Dickson and Jamie Jenkinson have both made substantial series of video works with mobile phones, usually with single takes that suggest an intuitive and spontaneous approach to shooting - a mode which they consider intrinsic to their medium. They resist reshooting and post-production. Hence their work foregrounds and promotes the act of looking, embracing a certain amount of wandering and the potential for 'errors'.
Nicky Hamlyn and Neil Henderson both make observational films that are most obviously documentaries when they focus on sites that are fast disappearing. Hamlyn's Gasometers 4 is part of a series of films recording the dismantling of gas holders in North London, while Henderson's Grain Tower centres on a giant power station chimney that has recently been demolished.
Nick Collins has been making films since the late 1970s. They centre on small scale instances of human geography and habitation, spanning investigations of archeological sites to contemporary environs. Graphic patterns of light and shadow are the focus of his observational camera, with his subjects including Greek temples, domestic gardens, and town squares. Collins has often collected his films together in short series of 'little films' reflecting their lyricism.
Jennifer Nightingale’s films broadly fall into two categories of ‘pinhole films’ and ‘knitting films’. The pinhole films that she has selected to show here include a new two-screen configuration of West Window, East Window. Other films include pieces from her Cornish Knitting Pattern series, which document the coastal locations where the knitting patterns derive from. The patterns themselves dictate editing decisions.