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1-9 of 9
- In 1969, one of the world's first supergroups, 'Blind Faith', comprising Stevie Winwood, Eric Clapton, Ginger Baker and Ric Grech, played their debut concert in London's Hyde Park. This previously unseen footage of the events of that day remained untouched until 2008. "There was about 28 minutes of raw footage in total, including images of the concert, the audience (which included Mick Jagger and Ken Kesey) and those who went to Hyde Park simply to participate in the experience. Among the crowd and the images of the 'jeunesse dorée' there is a definite sense of 'fin de siècle', the intimation of something darker creeping in around the edges. We decided to cut the film as a poignant reflection on the 'end of an era', the drawing to a close of the 'golden idealism' of the 1960's" says Sadia. "We agreed that aside from being the best performance of the set, the song 'Can't Find My Way Home' seemed to encapsulate the zeitgeist" says Stephen. "I faced the challenge of restoring the sound from a single microphone recording of the concert, so I split the sound up into four bandwidths in order to gain some control over the balance. I also had to employ some sophisticated techniques to reduce noise and distortion, and, although the recording is mono, I added some stereo ambience to give it more depth and realism." This film was premiered as part of the Cinémathèque Française screenings in Paris in June 2008.
- Iggy the Eskimo girl. short film
- A three (3) channel filmed installation with accompanying eight (8) channel soundfield, inspired by an interpretation of Cataract Gorge, Tasmania, and featuring footage of the rapids captured by the artist in the Gorge. The work is monumental in scale with the three channels set across a single nine foot by forty eight foot screen. The footage has been slowed down and colour balanced to resemble deep space, while the motion remains that of the water. This produces a meditative work that draws together the artist's ideas about time, space, and the land.
- The Memory of Water is a trilogy exploring the nature of human consciousness. Part One examines the themes of memory and reflection. The work explores the relationship between the drop and the ocean in terms of human experience, as well as examining the gaze as a bridge between inner and outer worlds.
- The work is a collaborative participation in a historical event, the Leipzig Lichtfest 'Kulturparcours' 2014, which celebrated the 25th anniversary of the Leipzig demonstrations that led to the fall of the Berlin Wall ('The Peaceful Revolution'). Screening/Exhibition History: Leipzig Lichtfest 'Kulturparcours', Halle 14 Zentrum für zeitgenössische Kunst (Centre for Contemporary Art) 2014.
- In 1971, the experimental film maker Anthony Stern travelled to Afghanistan with his 16mm film camera. The footage was lost for almost 30 years. Recently rediscovered, it forms the basis of this impressionistic documentary, with an original soundtrack provided by the world fusion musicians 'Equa'.
- A collaborative dramatic reworking of a 'psychedelically enhanced' excerpt from the award-winning film 'San Francisco'. The carefree spirit of the original 1968 film is placed in a sobering and revelatory context through the juxtaposition of the original footage with audio drawn from the seminal events of that momentous year. Part of a multi-channel installation, it is presented here as a short film. During discussions of potential new versions of the film, Sadia proposed to Anthony and Stephen that the content of the film 'San Francisco' could be reinterpreted as an installation work, of which this is a single channel version. She says 'Forty years after the original footage was shot, the content takes on an altered significance. I suggested that we might use audio of the seminal events of that year in place of the original soundtrack. In the light of history, this produces a sense of "fiddling while Rome burns". 'We decided to sequence it to a somewhat orgiastic clip of footage Anthony originally shot in 1968, which is now running 25x slower than it was originally. Stephen added to the psychedelic nature of the imagery by solarising the footage, and provided a sonic landscape in which to set the historic audio clips gathered by me. Anthony gave birth to the idea of slowing down his original single-frame imagery, and between the three of us I think we've deconstructed the original message of the film to provide new layers of meaning and subtext.'