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tours Recomposing The Universe
Jackie Hatfield
'...RECOMPOS[ING] THE UNIVERSE'
I'd gone to the London Filmmakers Coop when I was a sculptor, before I became a student of film and 'media', or knew about the history of time-based things, and I hung around that dusty old place, sitting in the rickety chairs, waiting quietly for the projection to be ready, the lights to hit the screen.

I saw works by Derek Jarman, Helen Chadwick, Wilhelm and Birgit Hein, Kurt Kren and Kenneth Anger. It was the black space that I liked, unlike the gallery with its bright white lights, it enabled a psychical experience between dream and reality, fiction and reality, an in-between space. Not only that, it was removed from the commercial gallery world, that place of selling, and the churning out of product; I'd found a place where I could experience the process of experiment alongside the screening of artists' moving image, and where the related philosophies had a history of being debated. As well as single screen films by Deren, Brakhage, Baillie, Gidal, Sharits, Schneeman, Fischinger, Maholy Nagy, Menken, Lye, Snow, Margaret Tait, I got to see Malcolm LeGrice's multi-screen Threshold '72 and Berlin Horse '70, later Gill Eatherly's Hand Grenade '71; William Raban's Diagonal '73; Angles of Incidence '73; Jeff Keen's mind blowing Marvo Movie '67, and White Dust '70-'72; Guy Sherwin's Interval '74 and Newsprint '73-2000; and Rob Gawthrop's sound film performances. Seeing multi-screen expanded cinema literally took me, the spectator, into a sensorial world, immersed me in a magical environment of light; made me aware of the sculptural possibilities of moving image, its plasticity as a medium, and like music, its temporalities and potential for dramaturgy beyond the representational.

Still from Hand Grenade by Gill Eatherley, 1971
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