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Chris Welsby
In one of his earliest films, the two-screen Wind Vane (1972), the uneven motion of wind across the hilly parkland of London's Hampstead Heath controls the panning-movement of two cameras positioned fifty feet (fifteen meters) apart.

The changes in camera-view determine the viewers' capacity to 'read' the landscape, by inference allowing them to 'see' the wind as it influences first one camera, then the other. Like many of his films, Wind Vane suggests that Welsby's artistic schooling owes as much to a continuing, fascination with boats and sailing begun in late childhood, as it does to his formal education as a painter at Chelsea School of Art and the Slade.

The genesis of [Wind Vane] came through sailing and doing long trips where you used a wind vane to steer the boat, so you could balance the steering on the boat to the direction of the wind,… the way that technology worked with nature as a way to get you to a destination. So if you see 'getting to a destination' as being the film, then that was essentially the central metaphor of Wind Vane. (Transcript of Illuminations TV interview with Chris Welsby by John Wyver, 2004 (unpublished).

Welsby has sometimes used the technique of time-lapse filming, essentially shooting one frame at a time rather than continuously, to condense time and so make visible the patterns of natural movement. Adopting different intervals or measures of time reveals different patterns. In Park Film (1972-3), he exposed a frame of film each time a stroller in the park crossed a particular point in his fixed-camera's field of vision, revealing both the daily ebb and flow of Kensington Garden's regular users, and the effect of waxing and waning daylight and changes in the weather upon this activity. In the two-screen River Yar (1971-72), made with William Raban the timelapse intervals were a minute apart, shot continuously day and night for two weeks in both spring and autumn, enabling him to explore the effect of the equinox upon water and sky in a tidal estuary, whilst using the changing length of day and night both as a rhythmic device and a structuring element in the film. Sometimes, Welsby has varied his pattern of shooting within a single film in response to changes within the scene. In Forest Bay 2, [1973] different elements in the landscape that are performing to different rhythms; clouds, waves breaking, people playing on the beach, are caught by bursts of filming of different lengths, as the camera successively pans across the view.

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