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tours Recomposing The Universe
Jackie Hatfield
All of these are expanded works of intense colour, dynamism and movement, slipping across the screens they are more than images in frames, they are sensual and pleasurable, temporal, synaesthetic experiences.

Le Grice's Threshold embodies material and linguistic complexities; as with Horror Film the performance of the artist places the live element, the body, the existential, corporeal body of the artist, central to the completion of the work. As contemporaries, LeGrice, Gill Eatherly, Annabel Nicolson, William Raban, and Marilyn Halford have been acknowledged as the British contingent of European expanded cinema, and their filmic explorations revolved around St Martins and the optical printer at the London Filmmakers Coop with Le Grice often at its technological centre. He has continued along this line of experiment with video and the un-knitting of digital cinema; the exploration of narrative; colour, texture, sound: Even the Cyclops Pays the Ferryman; and Josephs Newer Coat, and more recently Digital Aberration at the extreme edges of digital colour. As well as technological invention, which has gone hand and hand with moving-image experiment, it is always the multi-screened or performative works that I enjoy the most, and for pleasure I edge towards physical, perceptual and experiential artworks. Jeff Keen's expanded 'movies' are totally memorable experiences with Dr Gaz as master of ceremonies, and Keen's pop kitsch collages and 'film star' performers are a cine hybrid of Warhol and the Kuchar Brothers.

I was aware though from when I first started to search out film and video artworks, that electronic and then digital moving-image offered a changed process for artists from that of indexical film, and opened up new possibilities for the exploration of image languages and performativity, for expanded cinema in particular. As well as to shift relationships between audience and author, artwork and place, the electronic imaging process extends the possibilities of imaginary space, through collage and the non-photographic image. Consider the artworks of David Larcher, who with his moving-image labyrinths creates worlds within worlds, expands the screen within and outside itself, moebius strips of imagistic architecture. Larcher the alchemist weaves a technological chemistry into his artworks - and shimmering across the screen, unforgettable in my minds eye now, are: Granny's Is, Ich Tank, and VideOvoid.

Still from Threshold by Malcolm Le Grice, 1972
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