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Nick Collins (b. 1953) has been making films since 1976. His work, usually made on 16mm film, explores landscapes, human presence and absence and the passage of time. Collins’ films have been shown widely at festivals across the world, including at Toronto International Film Festival, London Film Festival and Kurzfilmtage Oberhausen. He is a visiting lecturer at the University of Brighton.
Nick Collins has quietly built a body of work by slow and patient steps that tested the scope and focus of his art. In some respects this echoes the character of the films themselves, which are on the cusp between personal lyric, with its implication of subjectivity, and direct observation, with its camera-eye objectivism. They enact a kind of absorption in seeing, but always in relation to particular sites and events, such as water, sky, gardens, natural landscape and the traces of human habitation. They rarely show people, but they are not impersonal. The persons implicated in the films, however, are those not depicted in it. The filmmaker is one such, apart from rare traces of his occasionally glimpsed shadow. The viewer is another, more radically absent since not present at the original filming. Together, the maker and viewer complete the projected space of the image when ultimately the film is shown, and becomes 'present to us'.
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THREE SHORT FILMS
2000 / 16mm / color / sound / single screen / 20' 41 / 69 € distribution: 16mm |
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SANDAY
1988 / 16mm / color / sound / single screen / 16' 00 / 54 € distribution: 16mm |
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LOOKING IN AND OUT - A Winter Diary
1986 / 16mm / b&w / single screen / 9' 00 / 30 € distribution: 16mm |