About the work For most of his adult life Andrew Payne has been fascinated by the natural world, and 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, adding 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. The two images shown here 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. Words by the British painter Paul Nash seem very relevant to this work. Nash wrote about the ‘unseen landscapes’ of England in a Country Life magazine article in May 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 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. 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 life Andrew Payne has been fascinated by the natural world, and 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, adding 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. The two images shown here 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. Words by the British painter Paul Nash seem very relevant to this work. Nash wrote about the ‘unseen landscapes’ of England in a Country Life magazine article in May 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 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. 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 life Andrew Payne has been fascinated by the natural world, and 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, adding 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 this work. Nash wrote about the ‘unseen landscapes’ of England in a Country Life magazine article in May 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 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. 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.
Andrew Payne