A meditation on the constancy of the rhythms and ever-changing movement of the sea as waves break on the shore at different locations in Cornwall. A hypnotic new perspective on a timeless manifestation of the forces of nature.

A film which, by the use of a simple camera movement, explores and reviews some relationships to the ground. The viewpoint continuously orbits places, objects, people and events. The observations gradually speed up to reveal a double sided ground flipping like a tossed coin, then slow again to oscillate about the earths edge.

A cinematic roller-coaster ride at the hands of a performer who is literally holding the viewer on the end of a pole. Swoop above his head on a rooftop then fall to his feet. Watch him strain to lift you up and swing you round. Balance precariously above his head as he hurries to get back before the magic wears off.

A woman walks and starts to turn. She continues to turn in different places as we follow, impossibly locked on to her body. Finally floating above her as she turns and walks away.

‘Bike’ explores some different ways of looking at riding a bicycle. A form of visual relativity is created by fixing the camera inside the wheel, to the pedal and floating above the head of the rider. With these new perspectives this simple activity is transformed.

The chance to ‘free fall’ up and down from a bounce is surely one of the main attractions of using a trampoline. This film celebrates that feeling, of both using and defying the force of gravity.

A spinning camera finds new perspectives on some portraits and other things. Strangely the world does not become an abstract blur but flickers, distorts and merges. Live action somehow becomes animation.

This film is inspired by the calm oasis at the centre of North Cross roundabout in Plymouth and the contrast between the activity of walking and the relative high speed chaos of traffic. It highlights the curious physical movements that are walking and celebrates the successful complete separation of pedestrians from vehicular traffic that the roundabout achieves. Made as part of the Cafe Concrete Plymouth City Project.

A tour of an old barn narrated by the farmer, Arnold Cole, who has known it for over 50 years. Redundant barn spaces and features serve to prompt the story of changes in farming practice. From milking by hand through the coming of electricity to developments in baling and feeding methods, the transformation from farming as a way of life to farming as agribusiness is charted.

An experiment with orientation movement and shape combined with musical improvisation. A continuous rolling, tumbling motion determined by a geometric shape creates a visual rhythm and images that roll, dip and soar with the improvised soundtrack.

Shot during a workshop at the Laban Dance Centre in London, the film explores some of the visual opportunities offered by the architecture and participants without dwelling on formal dance movement. The ‘Framework’ section uses a 4×3 space frame to create a ‘camera space’ which plays against the architecture and movement of performers. In ‘Window’ performers are both illuminated and reflected as they move beside the translucent window.

Film eyes open, blink and see, looking about with all-round vision. Shapes, lines and spaces are not constant but ebb and flow with the camera movement. This spherical view of things redefines geometry creating an almost four dimensional appearance which ultimately seems to turn space inside out.

Big Ben strikes twelve while rotating around its own clockface as day turns into night. Twelve shots from twelve locations in one minute, the images fading with the bell chime at each strike. Broadcast in the UK and France. Screened at Rencontres Internationales Sciences et Cinémas, Marseille.

"A multiperson head, on the border between live action and animation, struggles to assert itself against the rapid succession of personal appearances. Made while I was a student at St Martin’s School of Art and featuring a lively collection of students from the time." -TH

An exercise in visual relativity in the form of a journey through space and time with the wheel. Starting with a primitive hand-drawn cart and moving through horsepower and machine age tractor and car to the ultimate wheeled transport, the bicycle.

"Originally designed to be projected back up onto a screen on the glass floor on which it was made, this film uses people to explore the space beneath the floor. It was more recently screened as a ceiling film. Made while I was a Student at St Martin’s School of Art." -TH

Part intimate portrait and part observational documentary, this film looks at how a Dartmoor farming family relate to the land and their animals. Closely observed and beautifully captured over a period of 6 months in 2003, it gives a privileged insight into the world of farmers' perceptions, their knowledge and skills accumulated over generations and their sensitivity to working with nature.

An experimental film that looks afresh at landscape by using the medium to explore its time and space in ways other than ‘eye view’. A rich, sensual, densely textured film poem that sets out to challenge perceptual habits without being drawn into the seductive trap of the picturesque.

‘Camera Obscura’ is an experimental documentary which draws sounds and images from the Dartington Estate in Devon and constructs an idiosyncratic portrait. Verbal and textual definitions attempt to pin down what it is and play against elusive images. Archive material and re-invented historical events evoke the ethos of the past and combine with stories and contemporary details to illuminate the spirit of the place.

Experimental music video for English electronic music group The Orb by Tony Hill. "I had just bought a 35mm film camera and this was the first thing I used it for. The rolling shape I originally made as a student, it was filmed rolling on a mirror with the camera upside down. We travelled around with the big mirror on the roof of my car looking for suitable locations. ‘The Orb’ put us in touch with the brilliant juggler. I like to show it on a big screen so that the film becomes a changing light source."