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
