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Chris Welsby
Laura Mulvey points out - in her introduction to the British Film Institute's recent DVD collection of his works - that Chris Welsby's true subject is weather, and changes within the view.

Earlier critics have described Welsby as an artist whose use of film extended a British tradition of Landscape painting established in the Romantic period by Cozens, Constable and Cotman. Certainly the exterior spaces of cityscapes, seascapes and wilderness are seen in his films and installations, but the painterly tradition he feels closer to is that inaugurated by Cezanne and Monet; artists who understood that landscape is never static; always changing. Like them, his work acknowledges our changing relationship to the environment, drawing on twentieth century science and art-practice to re-define the idea of Landscape with a relevance to our own times.

With each work he makes, Welsby devises new ways in which technology can make visible and comprehensible the changing scene. For him, it is also important that technology (the camera and shooting strategies) should be in harmony with its subject. In an interview with John Wyver he states that: [Each] film could be read as an environmental model, in which technology and nature work together, rather than technology dominating nature. (Transcript of Illuminations TV interview with Chris Welsby by John Wyver, 2004 (unpublished).

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