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Boshier FILM & VIDEO COLLAGE
On Wednesday 26th September Derek Boshier will be with us to host an evening of his short films and take audience questions. We will be showing a selection of 5 minute shorts as well as the BBC film ‘What do Artists Do All Day’ which is about what he gets up to. This event is FREE - you can just turn up. There will be brief breaks between the films and Derek will welcome (no doubt encourage) questions. The Gallery will open at 6pm for a look at his show and the films will begin at 6.30pm and go on for as long as we like. By the way I have managed to get a few books for those that missed out on the opening night.

 'Did you see....That'

'Did you see....That'

I’m not interested in high resolution. That’s not what my films are about. I don’t think of myself as a filmmaker, but rather as an artist who uses film or video as an extension of my existing ideas and reoccupations. Film editing is collage, and collage is picture making. The one thing that is different in film is the introduction of movement….The use of live action, shooting from stills or television, and the use of animation serves to affect the pacing of the film.’ Derek Boshier

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'Boshier emphasizes that effects considered negative or disruptive in a narrative film can be used positively in a collage video: ‘Things such as blur, fragmentation and out of focus photography – an unfinished quality – might be disconcerting to the viewer of a film, but such things may be exactly what’s needed in my videos.’

Boshier may not think of himself as a filmmaker, but recent works……are highly cinematic and occupy a position that calls for comparison with the work of earlier adventurous artist/filmmakers such as Bruce Connor and Arthur Lipsett. ….Boshier’s approach – at least in these recent films – is more oblique, dependant on the dry humour found so often in his paintings and works on paper. His method of acquiring material is largely improvisational. Sights stumbled upon as he explores the city are often combined with drawings, which sometimes become animated, then in turn morph into footage shot directly from a sporting event on a television screen, and so on. Rigour enters the picture at the editing stage. The different elements are carefully fitted together and combined with musical elements and other sounds to set up a counterpoint that brings the visual to life. The film ‘Did you see….That,’ he says, ‘was an attempt bring forward examples and experiences of everyday life – quotidian experiences edited and conveyed in a way that would stimulate the imagination. Glorifying the everyday, if you like – the ordinary being given precedence over singular events like sunsets.’ News from the Metropolis Christopher Finch Rethink/Re-Entry