Australian artist Laura Hindmarsh and London based artist Bea Haut bring together two 16mm film based works featuring the artist embodied within the frame. Present and exposed, yet deceptive through the coupling of alterations in time and space, these works complicate human gestures and unravel 'charged moments'. Laura Hindmarsh is an Australian artist based in Tasmania, currently undertaking a self-directed residency in London. Her practice is an ongoing inquiry into the nature of perception and representation, and is informed by experimental music, expanded cinema and meta-fiction – works that demonstrate their own process and condition of existence. Bea Haut is a London based artist who works primarily with 16mm film in an expanded form. This manifests and behaves as sculpture, installations, projections, photography and printmaking. Haut programmes Analogue Recurring, a screening series dedicated to celebrating experimental film.

Wry and formally ingenious, John Smith’s films are playful explorations of the language of cinema and thought-provoking reflections on the image’s role in politics, war, and the global economy. The 2013 Jarman Award winner will screen and discuss a selection of films from throughout his career including Slow Glass (1988-91), an exploration of memory, perception and change through the stories of a nostalgic glazier; Blight (1994-96) a stunning montage depicting the destruction of a London street to make way for new roads; and Pyramids / Skunk (Hotel Diaries #5) (2006-07), in which a chocolate bar in a Rotterdam hotel room eventually reminds the filmmaker that there are important things going on in the world outside. (76 minutes)

Brakhage and Solomon are two American giants in the so-called poetic, lyrical and personal film. Stan Brakhage is one of the most influential filmmakers in American avant-garde cinema, noted for his unflinching social commentaries and technical innovations. Over his nearly 40-year career, he has made over 200 films of varying length. He made his first film, Interim (1952) at age 18 after dropping out of college. Brakhage films seek to change the way we see. They encourage viewers to eschew traditional narrative structure in favor of pure visual perception that is not reliant on naming what is seen; rather his goal is to create a more visceral visual experience, for he believes that a "stream-of visual-consciousness could be nothing less than the pathway of the soul." To this end, his films are shot in highly sensual colors and utilize minimal soundtracks. Phil Solomon is an internationally recognized filmmaker and has been teaching both film history/aesthetics and film production at CU since 1991. Professor Solomon's work has been screened in every major venue for experimental film throughout the U.S. and Europe, including 3 Cineprobes (one-man shows) at the Museum of Modern Art and two Whitney Biennials.