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This film was made during NVA's Half-Life production which took place in Argyll in 2006.
A film about the life & time of ex The Homosexuals bass player Xentos Jones Luke Fowler's The Way Out: A Portrait of Xentos Jones, made in collaboration with Kosten Koper, is a tribute to underground punk musician and film-maker Xentos Jones and his band The Homosexuals. Fowler collages together diverse material related to Jones including interviews, music and even found fragments from Jones' own experimental films to create a haphazard and intriguing portrayal of this maverick character.
Fowler’s film focuses on Sue Tompkins’ performance ‘Country Grammar’ created in 2003, one of her earliest pieces performed within a gallery context.
A companion piece to Mum’s Cards, For Dan explores an intense period of correspondence between the artist’s late father and his closest friend, radical university lecturer Dan O’Neill. Filmed in an eco-community in Queensland, the film impressionistically documents both the friendship between these two young men and sketches a partial political history of Australia in the early 1960s.
As the winning artist of the 2008 Film London Jarman Award, Luke Fowler was commissioned to produce four short films for 3 Minute Wonder, Channel 4s shorts strand. The four films premiered on Channel 4 over four consecutive nights in April 2009. Entitled, Anna, Helen, David and Lester, they are a series of portraits of four diverse individuals brought together through a shared residence – a flat in a Victorian tenement in the West End of Glasgow. Composer: Lee Patterson
As the winning artist of the 2008 Film London Jarman Award, Luke Fowler was commissioned to produce four short films for 3 Minute Wonder, Channel 4s shorts strand. The four films premiered on Channel 4 over four consecutive nights in April 2009. Entitled, Anna, Helen, David and Lester, they are a series of portraits of four diverse individuals brought together through a shared residence – a flat in a Victorian tenement in the West End of Glasgow. Composer: Toshiya Tsunoda
Shot on 16mm and featuring a soundtrack by Toshiya Tsunoda, Luke Fowler's film pays tribute to the French master’s impressionistic approach to light and nature (notably his Mont Sainte-Victoire series) through his own resplendant glimpses of landscapes and people in Southern France.
A series of portraits, made for Television, of four diverse individuals brought together through shared residence. These short films were filmed in the tenement where I lived for eight years. The first is shot in our bedroom, which doubled up as my former partner's office, the three others were shot in architecturally identitical spaces owned by my then neighbours. Shot and edited on a single 16mm bolex camera using available light throughout, the films invoke reflections on the four individuals, how they occupy these particular spaces together.
Luke Fowler’s work has long asked how we come to know someone in their absence. He has explored this question by creating posthumous portraits of individuals through precise compositions of the things they have left behind: recorded images and sounds, papers and notes, artwork, the spaces through which they moved, and the testimonies of friends who remain among the living. Patrick evokes the life of its eponymous music producer [Patrick Cowley] by all these means, taking in the postindustrial charms of San Francisco’s now-gentrified South of Market district, once famous for its dance clubs and leather bars, as if searching for Cowley’s still-lingering energy.
‘ Paddington Collaboration ’ was shot on 16mm film one morning in and around a flat in Paddington , London. Inspired by a history of formal film experiments the artists imposed a structure with each controlling roughly half of the content. Fowler drew from classic ‘room films’ to document a journey from the interior of the upstairs flat to the front door of the building. McLauchlan then explored the surrounding area, following this exploration with shots of Fowler in front of the places he had previously captured. Fowler asked McLauchlan to draw over the first half of the film, instead she wrote about the events of that morning, a text that then forms the sound track. The narrative reveals the physical and temporal structures that guide this collaboration , together with those that shape expectations of what it means to contribute to this type of film.