Mike Leggett
Nacimiento : , United Kingdom
Historia
Mike Leggett has been working across the institutions of art, education, cinema and media arts since the mid 1960s. He has film and video artwork in archives and collections in Europe, Australia, North and South America. He has a Master of Fine Art from the College of Fine Art, University of New South Wales, and a PhD from the Creativity and Cognition Studios, Faculty of Engineering and Information Technology, University of Technology Sydney.
Director
The film was commissioned by South West Arts and Watershed as a community project celebrating the longest day of the year, 21st June in Bristol, UK, 1985. The project was shot on Super 8mm film, edited on video and played later on a screen as part of a photographic exhibition at Watershed Media Centre.
Director
THE BODY ON THREE FLOORS was a collaborative project that emerged from a dance class, between a dozen people with different professional art form and science skills and featuring the pianist, Keith Tippett. A project by filmmaker Mike Leggett and produced with the technical and financial assistance of a regional arts board and a regional television station in Britain. The program approach utilises the method of essay, and the essay of imagination, working across television genres in a manner intended to be both serious and entertaining.
Director
"Leggett's early experiment was with film, though his exploration of video started in the '70s with CCTV and performance ... and re-contextualising the video image as film, to questioning the electronic technology and its 'ambiguities'. Leggett has moved fluidly between shifting moving-image technologies, film, video and digital, and engages the audience directly with the associated and variable discourses." - J.Hatfield.
Director
A soundscape of the comings and goings in a home precedes a description by a young boy of a bosun's chair, a device suspended on ropes for crossing stretches of water. A film in three scenes captured on Betamax video shot in 1983, the material of the image floats and ripples on the screen. Distributed by LUX, London.
Director
A film that raises questions about the associations between song lyrics and particular places.
Director
Friday Fried mezcla imágenes sonoras de una manera estrictamente procedimental basada en una relación con la pista de la imagen que se estructura en torno a una secuencia de 16 imágenes. Cuatro voces narran una serie de descripciones que se refieren al detalle visual en la imagen al tiempo que se cruzan entre sí. Durante la construcción de la banda de sonido se combinaron 12 fuentes diferentes sin alteración de equilibrio, tono, etc. a lo largo de todo el metraje.
Director
Color "generado" desde el cielo, el césped y las bayas, un sistema de sintetizadores de loops gráficos en la impresora. No sólo cambian los tonos de los colores complementarios, sino también la luz blanca
Director
Examina la imagen resultante en conjunción con el sonido síncrono / no-síncrono y la imagen de palabra escrita
Director
Work on The Heart Cycle commenced as a series of experiments with a roll of 16mm ‘found footage’ film and a newly acquired CCTV system (sited at the college of art in which I worked). A film projector and several studio cameras connected through a simple vision mixer to monitors and a video tape deck, recorded a series of procedures and adjustments made to the system during experiments and ‘rehearsals’. The new media of analogue video delivered motion pictures that displayed in ‘real time’, the state of a system in synthesis. These peaked as a final performance, the extent unedited, 'single-take' recording of The Heart Cycle.
Director
"Duncan Morris is asked to laugh as long as he is able...." Another early videotape made when I was exploring the creative possibilities and affordances of the Sony Portapak, recently introduced into Britain. As an artist and filmmaker, the new medium encouraged spontaneity of execution (for little cost compared to film). The ability to see the results immediately afterwards propelled concepts and ideas towards a completed outcome.
Director
The film starts with an extreme close-up of television static. Through a series of carefully controlled processes, the abstract nature of the image (which is concerned with pattern, colour and time), is juxtapositioned with the formal images of domestic room interiors and exteriors. With this work, Leggett questions the legibility of the image, examining the illusion produced by the two great illusionists – television and cinema – and the extent to which these can be manipulated and do manipulate.
Director
Shepherd’s Bush was a revelation. It was both true film notion and demonstrated an ingenious association with the film-process. It is the procedure and conclusion of a piece of film logic using a brilliantly simple device; the manipulation of the light source in the Film Co-op printer such that a series of transformations are effected on a loop of film material. From the start Mike Leggett adopts a relational perspective according to which it is neither the elements or the emergent whole but the relations between the elements (transformations) that become primary through the use of logical procedure.
Director
An experimental film in seven parts for continuous projection. With the excepti on of parts 1 and 2, each film can be hired individually. Individual parts as f ollows: Part 1: Sheep (3 mins st.) Part 2: Sheepman (10 mins st.) Part 3: Window (45 mins) Part 4: Lane (18 mins st.) Part 5: Farm (25 mins) Part 6: Blue plus greed plus red (15 mins) Part 7: Sheepwoman (16 mins sd. commag.)
Director
Una sábana de lino blanco aparece y desaparece dentro de un rango de diferentes lugares rurales y urbanos.
