Mark Lewis

A virtual stroll between the cultural center Casa do Povo and the ruins of Art Palácio -- a cinema theater designed by Rino Levi in the 1930s -- located at Largo do Paissandú (São Paulo, Brazil).

A virtual stroll inside the cultural center Casa do Povo (São Paulo, Brazil), ending at the basement floor of the building, where an imaginarily restored version of the Teatro de Arte Israelita Brasileiro (TAIB) is located.

Lewis’s latest film, Galveston, 2017, newly commissioned by The Contemporary Austin and on view at the Jones Center, takes the city of Galveston, Texas, as both its setting and title. This island off the Gulf Coast has had many lives—as historic immigration port, center for shipping and the petrochemical industry, site of natural disasters, and tourist destination—and this complex, layered history becomes the backdrop and undercurrent for the film. In Galveston, Lewis’s ever-present subject is the iconic white skyscraper of One Moody Tower, visible throughout the southeast Texas city since it was completed in 1972.

Acclaimed Canadian contemporary artist Mark Lewis echoes the classic city symphony films of the silent era with this breathtaking cinematic tour through Toronto, São Paolo, and Paris’ Musée du Louvre.

Family inherits an old house and to their surprise, finds the home filled with wonderful colorful creatures that brings the family together.

23 August 2008 consists of two shots. A brief opening shot, intercut with inter-titles, of the famous Al-Mutanabbi Street book market in Baghdad is followed by an unbroken eighteen-minute monologue, shot from a single, still camera position and simply recording the speaker’s words without interruption. In it, Faysal Abudullah gradually builds a portrait of his relationship with his younger brother, Kamel, and in the process evokes the lives of Iraqi intellectuals of the left, driven into exile in the early 1980s by Saddam Hussein’s regime. Faysal describes Kamel’s decision to return to Iraq in 2003, his work for the new Ministry of Culture and his tragic death at the hands of unknown assassins on 23 August 2008. While the film throws light on little known aspects of Iraq’s political history, primarily it is the story of the two brothers, of Faysal’s devotion to Kamel and their contrasting attitudes to exile and to life itself.

2010 short video work by Canadian artist Mark Lewis

PULL FOCUS: GASOMETER shows how illusion and reality are interchangeable. It is engaged with ideas around movement and stillness, and with the different ways that a work of art can be both experienced in time and in turn can represent time. Lewis‘ work highlights, through film, that what is always present in a great pictorial work of art is a depiction embedded in a complex relationship to time.

2009 short video art work by Canadian artist Mark Lewis

Short video art work by Canadian artist Mark Lewis, featuring figure skaters in a park at night.

Mark Lewis, Cold Morning (2009) Single screen projection, 7 minutes 35 seconds, HD video.

'Backstory' investigates the highly skilled art of 'Rear Projection', a widely used tool in film making in the mid 20th century employed in films such as Alfred Hitchcock's Vertigo or Marnie. In 'Backstory' Lewis invites the Hansard family, which has been instrumental in the provision and development of Rear Projection for hundreds of Hollywood productions over several decades, to tell their own story of the heyday of the techniques and their decline and disappearance as the they are replaced by new technologies and new tastes in visibility.

Single screen projection, 5 minutes 27 seconds, HD video.

‘Bricklayers Arms’ (2008) by Mark Lewis is a 35mm film, transferred to HD video. Appearing to simulate London’s CCTV surveillance system, while replicating a video game aesthetic, Lewis’ video is a slow zoom and pan of the street corner area immediately before a building. The camera’s sweep captures passers-by, traffic signage, handrails and barricades, area buildings and a bit of the street. The almost featureless modernist building centrally located in the frame is set against a row of London style tudor flats.

A first-person tour through the private collection of Ronald Grant and Martin Humphries in Britain with their curator Anna.

"Isosceles", one of a series of films shot in London, UK, where he lives, examines a defunct triangular public restroom, stranded at the junction of several streets in the (re)burgeoning area of Smithfield Market, which dates back to the 10th century. The enveloping movement of the camera presents a portrait of this vestige of London's early industrial era, in marked contrast with the surrounding modernized buildings.

In Spadina: Reverse Dolly, Zoom, Nude, Lewis establishes cinematic continuity between three separate scenes. The title indicates the place and progress of the film: it is a three-minute single shot, filmed in Spadina Road in the north of Toronto. We follow the transition from a close-up to a wide shot, all with the fluidity of a long dolly shot that is carefully developed. The movement begins with a reverse dolly shot, going from details of leaves on a tree to a wide shot of an urban landscape, then zooms towards a building and ends on an image of a woman taking some fresh air on her balcony.

2006 experimental short work by Mark Lewis

2006 experimental short by Mark Lewis

2005 short video work from Canadian artist Mark Lewis

Lewis’ Northumberland (2005) is focused on a drystone wall in the English countryside. The frame is split almost equally between the wall and the landscape behind it.

2005 short video art work by Canadian artist Mark Lewis

2005 short video work by Canadian artist Mark Lewis

2005 experimental short by Mark Lewis

2003 short video work by Canadian artist Mark Lewis

In this work Mark Lewis highlights the gap between utopian visions and everyday realities. The camera glides around a complex network of empty walkways in South London’s soon-to-be-demolished Heygate Estate, with the seamless movement of a computer game. Every detail is precisely planned and produced, from the perfect spring weather to the child actors playing in communal spaces. We are forcefully drawn into the image as the camera glides through the estate’s narrow paths, creating a metaphor for the linear nature of film itself, always moving on. Through this travelling motion, the architecture of the Heygate Estate is animated as a constant stream of images and information, highlighting how we, as viewers, understand the world around us, and what impact it can have on us.

Jay's Garden, Malibu follows the constant meandering of a camera through a lush, tropical garden. On closer inspection, a number of porn stars can be seen wandering around and Lewis' gaze drifts from the sexual metaphors hidden in the rich foliage to the suggestively dressed actors, and back again.

Smithfield (2000), the camera peers in through the windows as though spying on the woman who is cleaning the floor inside.

NORTH CIRCULAR employs a single 4-minute shot. It opens with a distant shot of an abandoned, partially ruined modernist office block backlit against a violet-tinged sky and the camera glides slowly towards the building.

The Pitch from 1998 lasts about five minutes – the entire length of a single 35mm spool, its only movement that of a camera zooming out; in it, we see Lewis himself in the middle of the picture read a text in which he tells the story of the ‘extras’, those unnamed armies of so-called supernumeraries without whom thousands of films would appear desperately empty. As the camera zooms out, Lewis himself is reduced to an extra among extras.

In A Sense of the End he films six alternative endings in long shot - the man rushing to catch up with the train that bears the woman away; the gunshot victim faltering and finally collapsing in an urban wasteland. Each conclusion functions as a kind of film-without-a-film: pure climax that requires no build-up. Lewis makes a similar feature of opening titles.