Shot in America but edited in the UK, this and NEW YORK STREETS formed a more politicised, agit-prop, kind of production, but closer to the cut ups and scratch video of London Video Arts of the time, and still with some emphasis on formal editing strategies and disruptive soundtracks of the earlier film work. Our Dream is about the violence of the onslaught on democracy, the working class, nation states, and sovereignty that began with the years of Reagan in America and continues to this day. It was a dark time in history, echoed now in 2013. The sense of deep foreboding and future dread let up during the late '80s bubble and boom, but has returned with the financial crash of 2008.

A small tree filmed on Hampstead Heath is printed out and re-edited at the Film Coop to form a formal abstract sequence bracketed by juddering naturalism. As with other films, the imagery is used away from its context as representation, as the source for an edited construction

All part of a series called LOGICAL PROPOSITIONS. The simple aim of this series was to didactically select several elements of film naturalism, which work to create the illusion of representation on screen, and make each the subject of a self-descriptive film using that element as subject and demonstration. So Lip sync is about sync sound and the disruption of it, Deep Space is about camera stability and invisibility of the camera apparatus, and Lens Tissue is about clarity of the image and focus. Each of them works by disrupting the element and foregrounding the effect on film, and flattening the representation from image to projected filmstrip.

"After the standard 8 work this was my first 16mm film. As a film it shows all of the tendencies and concerns that preoccupied my ideas in film, and then video up until the present day. At the same time it is a kind of sound-track time-capsule for the late '60s with sound from the moon-shot, Country Joe and the Fish, hippie music festivals, references to financial chaos, advertising and consumerism, gangster movies, Vietnam, and natural disasters." Mike Dunford

A tautology is a circular argument. The film is about framing, about the frame and the image framed, and about the framing of the image. About the image filmed, and the image viewed, and the image received and the links between all three.

"In 1983 I was working in San Francisco as a housepainter and much of the time we worked in Burlingame, south of the city. This tape is a meditation on that suburban world, with the actor, me, moodily, incoherently expressing his alienation from the society he inhabits." – Mike Dunford

Lip Sync is about sync sound and the disruption of it. [The film] works by disrupting the element and foregrounding the effect on film, and flattening the representation from image to projected filmstrip.

All part of a series called LOGICAL PROPOSITIONS. The simple aim of this series was to didactically select several elements of film naturalism, which work to create the illusion of representation on screen, and make each the subject of a self-descriptive film using that element as subject and demonstration. So Lip sync is about sync sound and the disruption of it, Deep Space is about camera stability and invisibility of the camera apparatus, and Lens Tissue is about clarity of the image and focus. Each of them works by disrupting the element and foregrounding the effect on film, and flattening the representation from image to projected filmstrip.

A surfer, filmed and shown on tv, refilmed on 8mm,and refilmed again on 16mm.Simple loop structure preceded by four minutes of a still frame of the surfer. An image on the borders of apprehension, becoming more and more abstract. The surfer surfs, never surfs anywhere, an image suspended in the light of the projector lamp. A very quiet and undramatic film, not particularly didactic. Sound: the first four minutes consists of a fog-horn, used as the basic tone for a chord played on the organ, the rest of the film uses the sound of breakers with a two second pulse and occasional bursts of musical-like sounds.

'Still-Life with Pear' takes a subversive position towards the illusion inherent in the film-image, its apparent transparency to representation, but rather than dealing with this by countering with strategies of foregrounding the actual materiality of the film-strip, the narrative construct is subverted within the film with a counter-narrative.