I’m Painting, I’m Painting Again

Descriptions of Works:


Video Paint 1.0, 2004, 2:56

Jeremy Bailey
Video Paint 1.0 is a computer program and video showcasing the software in action. The video features the artist explaining the procedures being applied by the program to his movements. He explains that he's invented a new form of painting, "but much, much better". He goes on to explain the many advantages of this new form of panting over conventional methods. The piece draws   attention to the abstract and often ridiculous language used by both painters and many new media artists to describe their work, simultaneously addressing new media's inclination to recklessly "update" non-digital art forms and incorporate them into their practice. Video Paint 1.0 is a manifesto for responsible art making in a digital era and a damning condemnation of everything that surrounds it.

Painting with Pastels

Karen Trask

2012, 05:00 minutes, colour, English

With a humourous look at the past and the present, a visual artist explores her art-making expectations. A series of actions are filmed in DUMBO, Brooklyn with a New York City skyline as background.

A Minimal Difference

Jean Paul Kelly

2012, 05:10 minutes, colour

Referencing pictures from Kelly’s ongoing archive of photographs and clippings culled from Google, flickr, and photojournalism, A Minimal Difference conflates the material structure of images with the abstraction of a personal experience of seeing

The Quick and The Dead

Stephen Andrews

2004, 01:14 minutes, Colour, silent

Animation based on a videoclip from the Iraq war.


Barry Doupé

2009, 05:07 minutes, colour

Thalé is a series of alien flowers modeled after decorative fiber optics ornaments.

Commissioned by Pride Toronto and Canada Council for the Arts.


Christine Negus

2013, 04:55 minutes, colour, English

SLIT ME A RIVER uses the tale of Bubbly Creek - a section of the Chicago River that was once polluted with animal entrails - as a point for an absurd departure. A narrator recounts a perverted version of the story as she recreates the river in an alluringly repulsive terrarium.

Twice Over (2012, 16:9, 12mins, colour, stereo)

 In Twice Over Simon Payne has filmed off the screen, with a hand held camcorder, an original sequence of digitally generated coloured rectangles. The re-filmed layer and an original variation of it are then superimposed on themselves, so that the discrepancies between them generate a third element: differently coloured slender rectangles that judder between the main blocks of colour. In contrast to the many computer-generated works Payne has made over the last eight or so years, the texture and ‘noise’ of the analogue decay generated by re-filming (as opposed to digital copying) plays an important role. (Nicky Hamlyn)


As pure and as rapturous as twelve minutes of rectangular colour, sound, and decay could ever hope to be. (Rotterdam International Film Festival 2013)

Point de Gaze (2012, 5m, 16mm, color, silent)

from Jodie Mack Plus 1 year ago Not Yet Rated

Named after a type of Belgian lace, this spectral study investigates intricate illusion and optical arrest.