Glynn Vivian Gallery grabs the attention with top UK filmmakers in opening of Single Shot season

By Ben Miller Published: 09 December 2010

An image of a colourful abstract painting
Exhibition: Single Shot, Oriel Gelf Glynn Vivian Art Gallery, Swansea, December 11 2010 – January 16 2011

The future may look bleak for the UK Film Council, but the first part of the Glynn Vivian’s five-month season of film and video kicks off by showing one of the institution’s successes.

Stemming from a collaboration between the Council’s New Cinema Fund and Arts Council England, Single Shot features specially commissioned pieces by well-known artists and new talent, all taking the single, unedited shot as a focal point and running with it in a bid to catch the viewer’s attention and hold it throughout.

George Barber shows a man who causes cars to create abstract art by emptying the contents of enormous cans of paint across the tarmac as they pass. His abstract concoctions are filmed from an overhead camera, whereas Clio Barnard’s Dark Glass – a “taut micro-drama” of family photographs recalled under hypnosis – is shot on a mobile phone, lending an inherent unsteadiness to the footage.

Others go on journeys and adventures – Sean Dower weaves around a full-sized drumkit, Ori Gersht shoots a pomegranate with a high-speed bullet in slow-motion, Matthew Grinter eavesdrops on café conversations in Tea Leaves and Julie Hill fixates herself on a Glass Gun.

Former Northern Art Prize winner Paul Rooney circles the deck of a boat to a haunting soundtrack influenced by Brecht and Weill, and Mike Marshall tracks precisely orchestrated birdsong in a forest in India, providing an exotic angle for a show guaranteed to be several times more original than most things you’ll find at the cinema this month.
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