Nicky Hamlyn

APRIL 9 – MAY 27, 2012

Nicky Hamlyn studied Fine Art at the University of Reading. From 1979-1981 he was workshop organizer at the London Filmmaker’s Cooperative, where he co-founded the magazine Undercut. He is currently professor of Experimental Film at the University for the Creative Arts, Maidstone, Kent and visiting lecturer at the Royal College of Art. His work has been exhibited at venues and festivals worldwide, including at seven previous editions of Media City and in recent solo screenings at the Pacific Film Archive (Berkeley), the Ann Arbor Film Festival and ExIS (Seoul). His book Film Art Phenomena was published by the British Film Institute in 2003. Hamlyn has also published widely on aspects of artist’s film and video, most recently on the expanded projector films of Lis Rhodes, Steve Farrer and Guy Sherwin in the book Expanded Cinema (Tate, 2011) and on medium specificity in Public journal, issue 44 (York University Press, 2011). He is currently co-editing a monograph on the Austrian filmmaker Kurt Kren (Intellect Books, 2014). He has completed over fifty films, videos and installations since 1974.

“Nicky Hamlyn’s films are a direct engagement with the terms of filmic representation. They assay the relationship between film space and film frame, flicker and movement, light and the material image. Sometimes improvisational, always rigorously conceived, each of Hamlyn’s films arise from an encounter between a situation, location or subject and a specific camera strategy. Within this precise formal play is the appearance of unanticipated phenomena. Depictions of domestic interiors and landscapes wring uncanny incidents from quotidian, even abject images, while simultaneously probing at the capacities and limitations of the film medium.” — Media City Film Festival

Artist links


Saturday, April 28, 2012
Saturday, May 5, 2012
Saturday, May 12, 2012

Film. Develop. Project

Free 16mm Film Workshops with Nicky Hamlyn
During these one-day intensive workshops, participants will be introduced to basic 16mm film production. Workshops will begin with a technical introduction to the Bolex spring-wound camera, light meter and lights. After this, participants will jointly shoot a roll of black and white film which will then be hand-processed in a developing tank. When the film is dry, the work will be projected and a rough digital transfer will be made. Each participant will leave with a digital copy of the film to take away for editing. Although the workshop does not cover editing, there will be an introduction to the various ways in which film can be taken forward into post-production.

Oona Mosna Jeremy Rigsby