Based on life in the Southern French countryside around the effects of the Chernobyl nuclear disaster. Made as part of Malcolm Le Grice's video series Sketches for a Sensual Philosophy.

Chair Film by Gill Eatherley is a three-screen presentation of an optically-printed filmic rumination on that mundane, brilliant invention, the chair.

Chair Film by Gill Eatherley is a three-screen presentation of an optically-printed filmic rumination on that mundane, brilliant invention, the chair.

During a voyage by boat to Finland, the camera records three minutes of black and white 8mm film of a woman sitting on a bridge. The preoccupation of the film is with the base and with the transformation of this material, which was first refilmed on a screen where it was projected by multiple projectors at different speeds and then secondly amplified with colour filters, using positive and negative elements and superimposition on the London Co-op’s optical printer.

Experimental animation, via multiple screens.

Multi-screen film performance, with a broom sweeping against the projected images.

"Pan Film is an extremely simple, short film in two and three screen versions, composed of a number of short, slow pans across a room, past a partially open window that gives only a glimpse of the trees outside."

Lens and Mirror Film is part of the Light Occupations series, in which Gill Eatherley performs simple investigations of the filmic equipment, particularly the camera and the projector, in short films that are each three minutes in length – corresponding to the length of a 100-foot roll of film.

Lens Hand Foot is part of the Light Occupations series, in which Gill Eatherley performs simple investigations of the filmic equipment, particularly the camera and the projector, in short films that are each three minutes in length – corresponding to the length of a 100-foot roll of film. In films like this one, she explores the relationship of her own body to the filmmaking apparatus, playfully attempting to overcome the unbridgeable distance between them.

“Two cameras are used to explore the view from a window and then within a room, the camera operators closeley follow and compliment each other even frequently observing each other directly. The film traces the two cameras’ attempts to imitate each other’s action – thus making some of the subjective responses of camera handling more explicit.” Malcolm Le Grice.