About the work For    most    of    his    adult    life    Andrew    Payne    has    been fascinated    by    the    natural    world.    He    has    a    particular interest   in   the   appearance   of   water,   light   and   clouds   in landscape.      For      many      years      he      made      colour photographs   of   the   landscape   within   walking   distance   of his    house.    This    landscape    is    not    exotic    -    it    is    the riverside   in   the   centre   of   the   English   town   where   he lives.   He   now      makes   short   films   of   this   place,   which adds   time   to   the   structure   of   the   work.   The   films   show the    effect    of    light    in    some    way    -    for    example,    its interaction   with   water,   or   the   projection   of   shadows   into his   home   by   sunlight.   The   work   captures   the   changes   in the   light   and   colour   in   these   places   over   time,   in   order   to reveal it to the viewer. Words    by    the    British    painter    Paul    Nash    seem    very relevant    to    his    work.    Nash    wrote    about    the    ‘unseen landscapes’    of    England    in    a    Country    Life    magazine article   in   1938:   The   landscapes   I   have   in   mind   are   not part   of   the   unseen   world   in   the   psychic   sense,   nor   are they   part   of   the   Unconscious.   They   belong   to   the   world that    lies,    visibly,    about    us.    They    are    unseen    merely because   they   are   not   perceived;   only   in   that   way   can they be regarded as invisible. The    two    images    on    this    page    highlight    his    continual interest   in   the   effects   of   light   on   water   in   landscape. They   show   the   dual   nature   of   water   to   be   both   reflective and transparent at the same time. His   films   are   non-narrative   in   form. The   camera   is   fixed   on   a   tripod   and   its   zoom   lens   is   used   to   frame   the   shot. The   camera   and   lens remain motionless while the shot is recorded. The only movement that occurs is within the frame of the shot. His   interest   in   using   a   static   camera   to   make   films   from   a   single   shot   led   to   his   discovery   of   the   work   of   Justin   Remes,   a   professor   of film   studies   at   Iowa   State   University.   In   his   book   “Motion(less)   Pictures:   The   Cinema   of   Stasis”   Remes   writes   about   films   that   are static   and   do   not   move,   and   argues   that   all   films   unfold   in   time,   suggesting   that   duration   is   more   fundamental   to   cinema   than   motion. In   Andrew’s   films   it   is   the   effect   of   changes   in   light   over   the   duration   of   time   that   is   one   of   the   most   important   features   of   his   work. The   films   are   all   between   1   and   5   minutes   in   duration   and   consist   of   single   shots,   sequences   of   images,   or   combinations   of   two moving images on a single screen.
Water under the bridge, no. 31 (Photograph - 1994)
Weir light 6 (Film still - 2016)
About the work For   most   of   his   adult   fascinated   by   the   natural   interest   in   the   appearance   landscape.     For     many     photographs   of   the   landscape   of   his   house.   This   landscape   riverside   in   the   centre   lives.   He   now      makes   adds   time   to   the   structure   the    effect    of    light    in    interaction   with   water,   into    his    home    by    sunlight.    changes   in   the   light   time, in order to reveal it to the viewer. Words   by   the   British   relevant   to   his   work.   landscapes’   of   England   article   in   1938:   The   not   part   of   the   unseen   are   they   part   of   the   Unconscious.   world    that    lies,    visibly,    merely   because   they   way can they be regarded as invisible. The   two   images   on   interest   in   the   effects   They    show    the    dual    reflective and transparent at the same time. His   films   are   non-narrative   lens remain motionless while the shot is recorded. The only movement that occurs is within the frame of the shot. His   interest   in   using   a   of   film   studies   at   Iowa   are   static   and   do   not   motion.   In   Andrew’s   films   his   work. The   films   are   of two moving images on a single screen.