Can Can
BFI Production (1975-76)
16 mm, colour, sound, 10 minutes (twin-screen version)

"Can Can" was made for projection in the cinema, the twin-screen version projects a dichotomous relationship that almost mirrors itself. Two prints of the film are projected simultaneously on the screen side-by-side: one print is reversed, the projectors unsynchronized, allowing the image/s and sound track/s to drift. Each time it is projected it is different. At the time I was interested in exploring the encounter of film: removing the projected film from the projection box and projecting it from the auditorium: extending a dialogue between the moving image, audience and surface of the screen. This period marked a transition in my film and video making: moving from cinema to the gallery, opening the door to installation: producing film-video concepts for a different audience and environment.

Exhibited at the NFT (1976) subsequently: London Filmmaker Co-op (1977), "Expanded Cinema", Arnolfini Cinema (1977), Paris Filmmakers Co-op (1977), Brighton Film Theatre (1978), "Expanded Cinema", Funchal, Madera (1979), "Mixage", Rotterdam (1980), Cinemateque, San Francisco Art Institute (1981), Berkeley Museum and Pacific Film Archive, California (1982), "Everything Must Go", Reg Vardy Gallery, Sunderland University (2002).

Footnote. Despite the emergence of film, expanded cinema and video in the gallery, they have never in a broader sense received the critical acclaim/acknowledgement they deserve, this is evident in the revisionist history and recent chronologies of contemporary art. I feel this error is due to perpetuation of the notion that separation is better than one: that debate and aesthetic issues in art or cinema take place in relative isolation. The fact is that artists, practitioners, students tend to borrow from each other, art is ephemeral, about looking, perhaps debating one from another, thinking/making in a more lateral less vertical way: exploring what makes art tick, what makes an image/idea conspire us to imagine. The most interesting film-video makers look at art, the most challenging painters-sculptors look at cinema, etc. What is it about my culture that has failed to recognize, educate a broader understanding of the shift/interaction of language. Is/was Expanded Cinema so far out? I don't think so.