User:Terry Flaxton

Terry Flaxton (Dr, Professor) RWA, FRSA painted his first paintings in 1969, took his first photographs in 1970, made his first film in 1971, created his first sound-work in 1972 and his first video work in 1976. Since then he has exhibited in several hundred festivals, museums, galleries and cathedrals.

Royal West of England Academician (Life member – maximum of 140 at any one time) Fellow of the Royal Academy of Arts, Science and Manufacturing PhD Websit: https://motionimageresearch.weebly.com/

Upcoming Exhibitions and Events 2020 – some cancelled due to Coronavirus • International Symposium Electronic Art, Montreal • Sedition Art Maya 2020, Curation of ‘Mirrors’ • Royal West of England Academy, Autumn 2020 Bristol • Istanbul International Experimental Film Festival, Curation of exhibition, exhibition of new work and Festival Juror

Writings about my Artwork • Sedition Magazine, Jan 2020 Digital Practice • Foundations of Digital Art and Design with the Adobe Creative Cloud (Voices That Matter) 1st Edition 2013, 2nd Edition 2019 • Sedition Magazine, Feb 2019 Hypersight: On Meaning, Myth, Media and Technology • Moving image Review & Art Journal, Volume 6 Numbers 1&2, (2017) • Experimental British Television, (ed Mulvey and Sexton) Manchester Uni Press (2015) • A History of Video Art, Chris Meigh-Andrews, Bloomsbury, (2006, 2014 also published in Japan and China) • Rewind, British Artists Video in the 1970’s & ‘80’s, Cubitt, Partridge, John Libbey (2012) • A History of Artists’ Film and Video In Britain, David Curtiss, BFI (2007) • Video Art – A Guided Tour , Catherine Elwes I.B. Tauris,( 2005) • InVideo Catalogue, AICE MILAN, Jon Dovey, (2005) • A Directory of British Film and Video Artists, Ed Curtis John Libbey/ Arts Council (1997) • Diverse Practices, Ed Knight (1996), John Libbey Media, University of Luton Press • Timeshift, Cubitt Comedia (1991) • Picture This: Media Representations of Visual Art and Artists ed Hayward (1988) • London Video Arts Catalogues, (1978,1984,1991) Arts Council and currently LUX online

Work held in International Collections Collections of my work are held at the following locations: • AICE InVideo, Milan • The Rewind Study Collection, University of Dundee • The British Film and Video Artists Study Collection, University of Westminster • Video Les Beaux Jours, Strasbourg • The Lux Centre, London • The Arnolfini Bristol holds a copy of ‘The Fashion Show’ • The Museum of Modern Art Berlin hold a copy of ‘Prisoners’ • The BFI Data base London holds various of my works • Heure Exquise is taking my work (circa Spring 2020)

Past Retrospectives of Artwork • 2010 Rome Film Festival, (10 single screen artworks) • 2010 Strasbourg Museum of Modern Art (12 single screen works shown) • 2010 Yokohama Creativity City Center (7 single screen works shown) • 2010 London, P3 Gallery • 2009 Bergen Elektronisk Kunst Senter, Norway, (6 single screen works shown) • 2009 New York, Millennium Film Screening, (4 single screen works shown) • 2009 retrospective within Rome Film Festival, 2009 (10 recent research works) • 2005 within InVideo Festival, Milan (8 single screen works and 1 installation shown) • 1993 within XWorks, Paris • 1990 within Kuala Lumpa, Pan Asian Video Festival, (9 single screen works shown) • 1988 within Den Haag, Worldwide Video Festival, (8 single screen works shown) • 1986 within Mill Valley, San Francisco USA, (7 single screen works shown)

Citations from Critics or Academics • ‘Flaxton’s aesthetic commitment is to making as much as he can as beautiful as the tools allow. But this aesthetic is always more than abstraction. Always more than formalism. The beauty in his work constitutes a grammar that is always part of a persuasive project. There is always a point towards which his luminous images are drawn’. Professor John Dovey, University of the West of England. 2020

• ‘Terry Flaxton has been an impassioned, indefatigable presence in British Independent Video for almost two decades. During this time he has assembled an impressive body of work encompassing powerful, polemical documentary (produced as a member of ground-breaking outfits Vida and Triple Vision) and highly personal, poetic video art. In Flaxton’s eyes, a faith in video’s transforming potential burns undiminished. More to the point, in Flaxton’s hands, much of the medium’s radical promise goes some way towards being fulfilled.’ Steven Bode, A Directory of British Video Artists, Editor David Curtis, Arts Council of England, John Libby Media/University of Luton Press, 1995

• ‘Flaxton has created a minor masterpiece in the clarity of his vision and the exploitation of the disconnect between two competing realities occupying the same space. In a world where artist’s video installations can all too often be either obscurely portentous or mundanely repetitive, it is refreshing to encounter a slice of the everyday and an invitation to join in or observe, without pressure or humilation’. Professor Martin Reiser, De Montefort University speaking about ‘In Other People’s Skins’. 2012

• Work like Terry Flaxton’s, from Prisoners (1984) to the Colour Myths (1990 – 91), went back patiently to the problems of making, the question of how video might achieve what television could or would not. Prisoners reworks material shot by Flaxton for a documentary commissioned by Apple Computers concerning Ridley Scott’s direction of their famous 1984 commercial, then the most expensive ever made. Scott had created a nightmare future underworld in his best Bladerunner tech-noir style. Flaxton’s remaking of the documentary focuses on the extras, lastly played by East End Skins, whose racism blinds most viewers to any understanding of skinhead as a working class refusal of just that anonymity which the Scott commercial both condemns and glamourizes. In The Colour Myths Cycle, Flaxton, perhaps the most respected video director of photography in the UK, uses a palette of colours and effects of startling brilliance to unfold a dialogue with the pessimistic post-modernism of Jean Baudrillard. Familiar things – rope, sand, water – are heightened in the shoot and in post-production to give them the aura of archetypes whose allegorical significances accumulate ever greater reserves of meaning. This is the opposite to the hyperreality thesis for which Baudrillard is best known, according to which the increase in the amount and speed of electronic images is the imploding black hole into which meaning disappears faster than it is created. The significant thing for this discussion is that in this cycle, Flaxton uses all the intensity and lustre of which TV is capable to produce his counter argument: demonstrating, through television, the capacity of TV to produce and keep on producing meaning. These tapes have often been criticized for the density of their soundtracks, which recount complex arguments in the guise of mythic dialogue between Echo and Narcissus. That critique misses one of the key elements of Flaxton’s recent work: the constant dialectic between the popular and the demanding, populism and difficulty. Sean Cubitt, Professor of Screen Studies, Melbourne University, (Editor in Chief Leonardo Book series, MiT) • Diverse Practices, Ed Knight (1996), John Libbey Media, University of Luton Press

‘Flaxton uses all the intensity and luster of which TV is capable to produce his counter-argument: demonstrating, through television, the capacity of TV to produce and keep on producing meaning’.

For more citations please go to: http://www.flaxton.btinternet.co.uk/terry8xy5.htm

EXHIBITIONS 2019 • Royal West of England Academy, Bristol, Radiant Sound, Radiant Light • Istanbul International Experimental Film Festival, exhibition of Radiant Sound, Radiant Light and Festival Juror • Bishops Palace Wells, The Intersection of Dreams (3 months) 2018 • Royal West of England Academy, Bristol, Metempsychosis (After Turner, 6 prints) • Red Brick Glastonbury, Solo Exhibition • SCCA, Ljubjana Various single screen works • Red Brick Glastonbury, Inside Outside • Rikxy, Bristol, To Stand and Stare • Red Brick Glastonbury, To Stand and Stare 2017 • Echo Park Film Centre, To Stand and Stare: A Somerset Landscape • Royal West of England Academy, Bristol, a new longform work “Drawing, Inscription, Abstraction, Intersectionality” (Comprised of Portraits of New York, Drawings and Inscriptions, The consciousness of the Least of all the Species, The Consciousness of Trees) • Romeinse Katakomben Museum, Netherlands, Drawings and Inscriptions) July to September October • Romeinse Katakomben Museum, Netherlands, Reflections on Water July to September • PLASTIK Festival, Dublin, Prisoners (1983) part of LUX show 2016 • December, Arnolfini Bristol, CMIR:THREE, Portrait of Bristol Youth • November, In Other People’s Skins, Presidential Palace, Florence • October 2016 - March 2017 The Cathedral of St John the Divine, New York, The Intersection of Dreams (In Re Salvador Dali - Triptych) • Atkinson Gallery, Somerset, Westhay, Kings Canyon, Fuertaventura (Mosaic Triptychs) • RWA Bristol Reimagining Venice (Mosaic Triptych) • CMIR: TWO, CentreSpace Bristol, Barcode Jesus in a Material World 2015 • December CMIR:ONE: Portraits of Bristol Youth • Easter, In parallel: The Cathedral of St John the Divine, New York, Triptych, The Intersection of Dreams (In Re Salvador Dali) • Easter, In parallel: Bristol Cathedral, The Bristol Triptych: The Intersection of Dreams (In Re Salvador Dali) • An English Landscape’, 70 min, ideas of place and space and the notion of ‘truth’ in documentary (Strode Cinema) • The Cathedral of St John the Divine, New York, In Other People’s Skins (2nd visit)

Further exhibitions at end of document

ARTWORKS 2020 • The Laniakean Paradigm - 7 works (completion and release this year) • A Digital Requiem - 7 works (completion and release this year) • Mask of the Soul (completion and release this year comprising 4 works) including The Langport Mummers • Self Portrait in the Quantum Domain (completion and release this year) • Istanbul: Landscape of the Heart • Gravity Waves • England Keep my Bones • For Bridget RIley 2019 • Dia de Los Muertos – available on Sedition • Re:Imagining Venice (once more) – available on Sedition • Intersection of Dreams Re:Imagined – available on Sedition • Radiant Sound, Radiant Light (Sonus et Lux Radiosa) Without Meaning 4 – available on Sedition • Re:Imagining New York – available on Sedition 2018 • Without Meaning 1 (Sui Generis) – available on Sedition • Without Meaning 2 (Sine Qua Non) – available on Sedition • Without Meaning 3 (Genius Loci) – available on Sedition • Sanctus – available on Sedition • To Stand and Stare: A Somerset Landscape 62 mins 2017 • Triptych (3 large screen installation): Intersection, Comprised of: • The consciousness of the Least of all the Species • The Consciousness of Trees • The Consciousness of Elements • Multiple long form work, Drawing, Inscription, Abstraction, Intersectionality Comprised of: • Drawing: (Portraits of New York) • Inscription: (Drawings and Inscriptions) • Abstraction: (The consciousness of the Least of all the Species) • Intersectionality: (The Consciousness of Trees) 2017 Single Screen Works • The Consciousness of Elements – available on Sedition • The Consciousness of Trees – available on Sedition • Arabesque: The consciousness of the Least of all the Species • Portraits of New York– available on Sedition • The Divine Being, Inscribed – available on Sedition • Drawings and Inscriptions – available on Sedition • Cathedral Steps (after Max Escher) – available on Sedition • Line Dance for Norman McLaren – available on Sedition • Stained Glass Nature – available on Sedition • Barcode Jesus in a Material World – available on Sedition • Landscape Tryptich (Kings Canyon, Westhay, Fuerteventura) 2017 2016 • ‘To Stand and Stare: An English Landscape’, 70 minute single screen work investigating ideas of place and space and the notion of truth in art and documentary • Re:Imagining Venice (Triptych) - A Cinemontage – three screens 2015 • Westhay – Cinemontage • FuertaVentura – Cinemontage • New York Winter Diptych – Cinemontage 2014 • The Intersection of Dreams (In Re Salvador Dali), The Bristol Triptych: The Intersection of Dreams Triptych • Reflection on Water • Kings Canyon Cinemontage 2013 • Diptych: Portraits of the Youth of Bristol • Trees, Cinemontage • ‘Portraits of the Working People of Somerset’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, Somerset) • ‘Myth and Meaning in the Digital Age’, 75 minute single screen work, (begun in 1989 the 1st draft was shown at Salisbury Arts Center 2010, but completed in 2013) 2016 • Re-Imagining Venice (Triptych) - A Cinemontage 2015 • Westhay – A Cinemontage • FuertaVentura - A Cinemontage • New York Winter Diptych – A Cinemontage 2014 • The Intersection of Dreams (In Re Salvador Dali), The Bristol Triptych: The Intersection of Dreams a triptych of three displays • Reflection on Water single screen moving image artwork • Kings Canyon – A Cinemontage 2013 • Triptych: Portraits or the Youth of Bristol 2012 • ‘To Stand and Stare: An English Landscape’, 90 minute High Resolution Digital single screen work investigating ideas of place and space and the notion of ‘truth’ in documentary • Trees – A Cinemontage 2011 • ‘Portraits of the Working People of Somerset’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, Somerset) • ‘Myth and Meaning in the Digital Age’, 75 minute Single Screen Digital Artwork, (begun in 1989 the 1st draft was shown at Salisbury Arts Center 2010, but completed in 2011) 2010 • ‘Portraits of Spitalfields, London’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, London) • ‘Portraits of the Arrow Tower, Beijing’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, London) • ‘Portraits of the Flat Iron Building, New York’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, London) • ‘Self Portrait in the Digital Domain’, Low to High Resolution Digital Installation, exhibited in various locations (1st Exhibition, Salisbury) • ‘Six Moving Image Works to Investigate Ideas of ‘Place and Space’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, London) • ‘Three Moving Image Works of Extended Portraiture’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, London) • ‘Three Unavoidable Moving Image Works Created on Consumer HD Cameras’, Digital Single Screen Artwork, exhibited in various locations (1st Exhibition, Salisbury) • ‘Until I’m Gone, an investigation of abstracted digital Self Portraiture’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, Salisbury) 2009 • ‘Portraits of the Somerset Carnivals’, High Resolution Digital Installation, exhibited in various locations (1st Exhibition, Somerset) • ‘The Sum of Hands’, High Resolution Digital Installation, (1st Exhibition, Norway) • ‘Portraits of the Centenary, University of Bristol’, High Resolution Digital Installation, Various (1st Exhibition, Arnolfini, Bristol), 2008 • ‘Dance Floor’, High Resolution Digital Installation, Various (1st Exhibition, Somerset) • ‘In Other People’s Skins’, High Resolution Digital Installation, Various (1st, exhibition Winchester Cathedral) • ‘In Re Ansel Adams’, High Resolution Digital Installation, Various (1st Exhibition, Bristol) • ‘Portraits of Glastonbury Tor’, High Resolution Digital Installation, Various (1st, Somerset Rural Life Museum) • ‘Ritratti di Cannaregio (Portraits of Cannaregio)’, High Resolution Digital Installation, Various (1st Exhibition, Venice) • ‘The Dinner Party’, High Resolution Digital Installation, (1st Exhibition, Somerset) • ‘The Unfurling’, High Resolution Digital Installation, Various (1st Exhibition, Bristol) • ‘Un Tempo, Una Volta’, High Resolution Digital Installation, Various (1st Exhibition, Venice) • ‘Water Table’, High Resolution Digital Installation Various (1st Exhibition, Bristol) http://www.flaxton.btinternet.co.uk/NEWATER.htm and many more works going back to 1976 here: http://www.visualfields.co.uk/history0.htm

AWARDS (for art) • Prix Nikki Amsterdam Editing Award 1991 • Prix Graph Locarno Film Festival 1989 • Montebeliard Film Festival Award 1989 • International Television Association Innovation Award 1983 • Fourth Tokyo Video Festival Award 1979

Leading and Critical Role as Cinematographer As Cinematographer many of the films I’ve shot have either been nominated for awards (UK Grierson Award, Prix Italia, Bafta Shortlist Nomination etc) or received awards: • International ProMax Awards x 3 (Gold Silver and Bronze awards) • Royal Television Society Awards x 2 (Blazed and Wingnut and the Sprog) • Seattle Science Fiction Short Film Jury prize 2007 • Special Commendation Wroclaw Documentary Festival: And Then There Was One • Special Commendation Algiers Documentary Festival - 'The Lights of Constantine' • Grand Prix Anna Carina, Dancing Inside (Director of Photography) • The Sobering winner of The Kodak Award • Brief Encounters South West Screen ITV Carlton Award LAZY EYE

Awards, Honours and Distinctions for Cinematography During my career in film and television, my drama, documentary, lighting, script and art projects have been shown in over 25 countries in more than 80 international festivals, the awards and nominations listed are for various practices. 2007 • Hollywood HD Festival Director’s Award, ‘The Ungone’, Tinder Films Cinematography 2007 • Arts Council Award, ‘In Other People’s Skins’, Ignition Films Cinematography, Directing 2006 • South West Screen Writing Award, ‘Human Remains’, Ignition Films, Writing 2002 • Rhode Island Film Festival Grand Prize ‘G Spots or the Wife of Bath’s Tale’ Cinematography 2001 • BAFTA shortlist Nomination, ‘Skin Deep’, Ignition Films, Cinematography, Directing 2000 • Grand Prix Anna Carina, ‘Dancing Inside’ APT Films, Cinematography • BFI Production Award, ‘The Light of Other Days’, Ignition Films, Writing 1999 • South West Screen/HTV Production Award, ‘Skin Deep’, Ignition Films, Writing 1994 • Royal Television Society Award, ‘Blazed’, Hi8Us, Channel 4, Cinematography 1993 • Silver Promax award, ‘The Westminster Shows’, BBC Television, Cinematography 1992 • Bronze Promax award, ‘African Summer’, BBC Television, Cinematography • Royal Television Society Award, ‘Wingnut and the Sprog’, Hi8Us, Channel 4 • Cinematography • Gold Promax award, ‘Fantasy Football League’, BBC Television • Cinematography • Prix Nike Amsterdam, ‘Rites’, Triple Vision, Channel 4, Editing 1989 • Special Commendation Wroclaw Documentary Festival, ‘And The There Was One’ Triple Vision Productions – Cinematography, Writing, Directing, Editing • Arts Council/Channel 4 Production Award ‘The Inevitability of Colour’, Writing, Directing, Editing 1988 • Channel 4 Ghosts in the Machine Production Award, ‘The World Within Us’, Illuminations Productions, Channel 4 - Writing, Directing, Editing • Special Commendation: The Lights of Constantine, Algiers Documentary Festival ‘And Then There Was One’, Triple Vision Productions , Writing, Directing • Prix Graph, Locarno, ‘The World Within Us’, Triple Vision Productions, Ch4, Writing, Directing, Editing • Prix Italia, ‘Out of Order’, Birmingham Film and Video Workshop Channel 4, BFI Cinematography • Grierson Nomination for ‘The Cold War Game: the Soviet Union’, Triple Vision, Channel 4 • Grierson Nomination for ‘The Cold War Game: the United States, Triple Vision, Channel 4 1987 • Montbeliard Prix Graph Award, ‘The World Within Us’, Triple Vision Productions, Ch4, Writing, Directing, Editing 1986 • Grierson Nomination, ‘Health Emergency’, Writing, Directing, Channel 4 1985 • Channel 4 Screenwriting Award, ‘Bad Dreams’ – Writing • Grierson Nomination, ‘Making News‘, Writing, Directing, TG&WU, Campaign for Press and Broadcasting Feedom 1984 • Grierson Nomination, ‘And Then There Was One’, Writing, Directing • Greater London Arts Award, ‘Circumstantial Evidence’ 1982 • Greater London Arts Award, ‘Towards Intuition: An American Landscape’

Membership of Arts bodies I have Academician status at the Royal West of England Academy – there are only 140 members at any one time, the Academy is one of the 5 UK academy’s of which the Royal Academy is one.

Membership of Industry bodies I am a Fellow of the Royal Society of the Arts and Manufacturing. I sit under observer status at the Science and Technology Committee of the Academy for Motion Pictures Arts and Sciences I am on the Education Committee for IMAGO, the World Federation of Cinematographic Societies

The Discipline of Cinematography It has been my intention internationally to help create a body of new knowledge around Digital Motion Imaging Cinematography, derived from cross-disciplinary practice and knowledge exchange. Until now there has been no other cross-disciplinary work that has tried to unify arts and science around the issues thrown up by this new subject. I have formed partnerships in industry that will both inform academia and vice versa with institutions such as Quantel, Dolby, British Society of Cinematographers, American Society of Cinematographers, BBC Research and Development, Creative England, British Film Institute, Cinematographers Mailing List, Watershed and Arnolfini, Bristol Museum Sector (City Museum), plus I have support from academics at 6 specific institutions who are interested in developing a research network that examines both practical and theoretical HDRCD Digital Cinematographic issues. https://motionimageresearch.weebly.com/

I have also created the following initiatives:

• In December 2010 whilst exhibiting my three year research project in a collaboration Between University of Bristol and the University of Westminster, I organised 4 days of discussions (with a colleague from Westminster, Michael Maziere) with academics from around the UK and also the University of Westminster’s research community on the construction of motion images – this online resource can be found under the title ‘The Idea of Digitality in a Post Digital Age’: http://www.flaxton.btinternet.co.uk/KTWest.htm

• In April 2011 I organised ‘The Look from Capture to Display’ (with departmental colleague Richard Misek). Until that date there had been no academic gathering in the UK with industry colleagues to discuss the pathway from image capture to image display. Besides revealing current theory and practise within the subject, a specific purpose of this symposium was to bring academics and professionals together to help translate meta-language between both communities to develop and create understanding in both practices. http://www.flaxton.btinternet.co.uk/KTThelook.htm

• In October 2013 I initiated the cinematography strand in the Encounters Film Festival and brought Roberto Schaefer ASC, AIC for a retrospective.

• In 2014 I initiated the HDR lab for Encounters Film Festival which originated some of the worlds first HDR images for presentation to audiences.

• In 2015 I created the Bristol Festival of Cinematography the first iteration of which took place in September 2015. This took place over 5 days and invited international level and Oscar winning cinematographers. Our intention is to attract a wide audience that will come from Bristol, from surrounding cities including London, Manchester and Edinburgh and also from European cities.

• In April 2016 I created the Cultural Ecology of the Mediated City which took place at the Arnolfini, Bristol.

• In September 2016 I again put on the Bristol Festival of Cinematography – now known as CIneFest . This took place over 5 days and invited international level and Oscar winning cinematographers.

‘BLINK’ International Art Project In 2005 I began a project entitled Blink by making a moving image piece (One Second to Midnight), then asked French artist Robert Cahen to respond with his piece. We then began the process of inviting other artists to respond to what was to become an ongoing work of art. We decided that we needed artists from a wide spread of countries, with each work being no longer than 4 minutes. So far there are 15 internationally know artists from the Philippines, Malta, Zimbabwe, Costa Rica, Norway, USA Italy and so on. We have already exhibited the project at both the Milan InVideo Festival and the Rome Film Festival and I have agreed with the Locarno Festival and the National Film Theatre to jointly premier the completed work in around 3 years time. The eventual aim is to have 30 works that are then presented as authenticated for sale with all proceeds going to ‘El Refugio’, (a children’s refuge in Lima, Peru).

• A note on prior professional experience within UK industry

As a Cinematographer I have lit and shot drama, including 4 feature films, (one of the first ever shot on video for 35mm theatrical release, ‘Out of Order’ 1987, Channel 4, BFI), various television dramas (e.g. BBC2, Channel 4), concerts where I technically directed multi-camera set-ups of 19 cameras, (the largest yet to take place with BBC Northern Ireland), documentaries (e.g. ‘A History of English Painting’ with Andrew Graham Dixon, Channel 4), Music Promos (e.g. Kirie Te Kanawa, Van Morrison) and technically directed live satellite broadcasts (10 cameras, 18 countries - included satellite configuration). As a director I produced, wrote the scripts, shot directed and edited for terrestrial television on varied subjects such as Soviet Foreign Policy in the Third World (60 mins), History of the National Health Service, (2 x 60 mins), Female Circumcision (60 mins), 5 part series on Video Art (5 x 60 mins), a 5 part series on Japanese food. During this period I collaborated on ‘The Cold War Game: The USSR’ with Jonathan Steele (then of the Guardian) and it was also my privilege to work with Noam Chomsky on The Cold War Gar: The USA.

Addenda – Exhibitions from 2014 back until 2008 – further work and exhibitions can be found here: http://www.visualfields.co.uk/flaxtonpage1.htm 2014 • Bristol Cathedral, Reflection on Water • Royal West of England Academy, Bristol (Reflection on Water, The Sum of Hands) 2013 • RWA Bristol (Triptych: Portraits or the Youth of Bristol; In Other People’s Skins; Triptych: Portraits of Beijing, New York, Venice; In Re Ansel Adams) 2012 • An English Landscape’, 70 min, ideas of place and space and the notion of ‘truth’ in documentary (Strode Cinema and Watershed August) • ‘Yosemite’, Harris Museum, Preston, October 2012 – January 2013. • ‘In Other People’s Skins’, Milano Trienalle, Milan Museum of Desgn, September 2012 • ‘High Resolution Portraiture within low resolution Photoframe display forms’, Corsham Court, Conference Exploring Transmedia Writing & Digital Creativity, Bath Spa University, 16th-18th July 2012 • ‘Prisoners’ (1984), Institute of Contemporary Arts, London, 18/04/2012 • ‘Portraits of the Working People of Somerset’, Black Swan Gallery, Frome, Somerset, 06/04/12-05/05/12 • ‘Prisoners’ (1984), Part of Toxic Communications, Permanent online exhibition, Lux Online http://www.lux.org.uk/exhibitions/toxic-communions • ‘Making News’ Part of ‘Broadcast Exhibitions’, Lux Online http://www.lux.org.uk/exhibitions/online-exhibition-broadcast 2011 • ‘Portraits of the Working People of Somerset’, Glastonbury Abbey, Somerset, 07/10/11-22/01/12 • ‘Portraits of the Working People of Somerset’, Bath Museum of Work, 08/07/11-27/09/11 • ‘Prisoners’ South London Gallery, Curated by Lux, September 14th, 2011 2010 • ‘In Other People’s Skins’, The Cathedral of St John the Divine, New York, 07/06/10 • ‘Time and Resolution: Experiments with High Resolution Imaging’, P3 Gallery, London (University of Westminster), 07/12/10-21/12/10, • ‘3 International Exhibitions (France, USA, Japan)’, Museum of Modern Art Strasbourg, Yokohama Creativity City Center, New York Center, Millennium Magazine • ‘In Other People’s Skins’, Vasteras Cathedral, Sweden, 19/02/10-06/04/10 • ‘In Other People’s Skins’, Xi’an Academy of Fine Art, 01/07/10-31/07/10 • ‘Myth and Meaning in the Digital Age’, Premier of work, Salisbury Arts Center, 27/10/10 ‘One Person Show of research works from AHRC Fellowship’, Salisbury Arts Center, 01/10/10-31/10/08 • ‘In Other People’s Skins’, Walcott Gallery, Bath, 12/11/10-14/11/10 2009 • ‘Digital Cinematography’, The Barbican, London, In Re Ansel Adams • ‘High Definition Technologies and Aesthetics’, Various works, Watershed Media Center • ‘Imaginists’ - 2 small exhibitions of work from Venice, Gallery 204, Bristol - The Phoenix Arts Center Glastonbury • ‘In Other People’s Skins’, Fabricca del Vappore, Milan, 22/04/09-27/04/09 • ‘In Other People’s Skins’, Southwell Minster, 14/04/09-08/05/09 • ‘In Other People’s Skins’, The Phoenix Arts Center, Glastonbury • ‘Portraits of the Somerset Carnivals’, Somerset Rural Life Museum, Glastonbury, 10/09/09-05/10/09 • ‘Portraits of the University of Bristols Centenary’, University of Bristol Assembly of the Court, Wills Building • ‘Screening of Research work’, Bergen Elektronisk Kunst Senter, Norway • ‘Two Italian Exhibitions: Rome Film Festival and Milan InVideo Festival’ 2008 • ‘A series of 4 HD installations over four days’, Wickham Theatre, 22/09/08-26/09/08, • ‘A series of 4 HD installations over three day’s’, 18/09/08-20/09/08 • ‘In Other People’s Skins’, A tour of 6 Cathedrals & Bath Abbey over 15 weeks, 07/02/08-16/05/08, 2008. • ‘In Other People’s Skins’, St James Cavalier Center for the Arts, Malta, 01/10/08-31/10/08, 2008 • ‘In Re Ansel Adams’, Gallery 204, Bristol, 26/09/08-27/09/08 • ‘Portraits of Glastonbury Tor’, Somerset Rural Life Museum, 16/09/08-21/09/08 • ‘Ritratti di Cannaregio (Portraits of Cannaregio) & Un Tempo Una Volta (Once Upon a Time)’, Scarabocchio Studio Grafico, Cannaregio, Ponte degli Ormensini, Venice, 12/09/08 • ‘The Dinner Party’, Phoenix Arts Centre, Glastonbury, 17/10/08-20/10/08 • ‘Analogue & Digital: Pioneering and Contemporary Artists’ Video’, London, 24/11/07-16/12/07