Intrusive Images

Online Showreel Programme

Total running time of films is approximately 75 minutes.

Sunkissed, 2022

Julia Vogl

Sunkissed uses screen printing on 35mm film to animate digitised reflecting moving light while on a residency in Athens, Greece, in 2022.

Running time: 4 minutes 53 seconds

Thigmomorphogenesis/Phototropism, Cascais, Lisbon 2018/Winchester (lockdown) 2021

Sara Roberts

Plants respond to external mechanical stimulation from wind or contact by becoming physically stronger; they respond to light by pulling towards it and arranging their structures to maximise leaf surface exposure for photosynthesis.

Running time: 47 seconds

Doljer, 2007

Adam Procter

A raccoon wanders alone through a Scandinavian forest to the haunting soundtrack of The Knife.

Running time: 4 minutes 40 seconds

Trespass, 2026

Yuan Ren

These still images explore the intrusive image through the encounter between transient bodies, rendered as spectral interruptions by long exposure, and monumental institutional space.

Running time: 16 seconds

There is a Turbot Fish!, 2026

Zhiyu Guo

There is a Turbot Fish! is an experimental frame-by-frame animation project based on everyday communication between people with hearing differences and their caregivers. Using automatism, synthetic translation, and fragments of handwritten notes exchanged between my father and my grandfather, the work transforms repeated words, gestures, and texts into poetic moving images. A p5.js sound experiment, activated by audience interaction, generates looping, fading traces of sound, highlighting communication as a shared, caring practice.

Running time: 2 minutes 59 seconds

Glitching, 2026

Nick Stewart

Spotted in Bond Street Tube Station: a faulty electronic billboard – with my reflection.

Running time: 31 seconds

Timelines, 2023

Ellen Gillett

Timelines depicts, at multiple moments in time, an earlier painted mural-artwork by the artist of a dancing male figure. These moments are overlaid on one another and oscillate back and forth before converging to form an ambiguous static image in which only the dancing figure is clearly legible. Time contracts and the figure is shown as present with all the depicted moments simultaneously, and therefore to exist independently of them, allowing us to imagine his diverging potential futures.

Running time: 2 minutes 27 seconds

Drive-By, 2026

Louise Siddons

Found silent cinema, shot on location in Winchester.

Running time: 5 minutes

Echoes After the Last Breath, 2026

Zhang Weigan

A first-person VR recording of a gamified near-death experience. Set within a liminal space between life and death, the work transforms looking into action, inviting reflection through an embodied encounter with memory, absence, and perception. This work is presented as an edited first-person recording derived from an interactive VR experience. It is not the full real-time interaction, but a curated translation into a screen-based format that retains the work’s embodied perspective and narrative flow.

Running time: 5 minutes 46 seconds

Desert Sand (dérive), 2020

Danny Aldred

Using the digital gaze of Google Street View, I have choreographed a remembered journey through the Suffolk landscape. Exploring ideas of how memory can be fragmented and palimpsestic. Glitches, noise, and detritus are all part of the final mix. The project was created for the ‘Desert Sand’ track by Roger and Brian Eno from their album ‘Mixing Colours,’ released March 2020.

Running time: 4 minutes 47 seconds

The Passenger, 2021

John Gillett

This clip is the core of a title sequence for a short film about the remaking of a painted image as a collage. Although both film and title sequence were shot and edited in 2021, they have yet to be combined into a finished item. The image features, in as lighthearted a way as possible, a half of a person in the boot of a car. Perhaps confusingly, because of the largely unrelated exhibition project which was to follow, the remade image and the film are both called Never Say Never Again. Location camera: Hugh Greasley; music: Ellen Gillett.

Running time: 42 seconds

Nervous Glitch, 2025

Seth Giddings

An animated collage, made in PowerPoint, exploring the aesthetic and generative potential of impairment and glitches in technical and biological systems.

Running time: 4 minutes

How to Make the Best Use of Salvage, 2024

Megen de Bruin-Molé

An audiovisual found poem using fragments from historical image archives and phrases from popular books on salvage.

Running time: 1 minute 13 seconds

STANDARD PARTS, 2026

Yang Zhiyu

Through a 3D speculative design approach, this short film critiques algorithms as governance mechanisms that reproduce data colonialism and surveillance capitalism. It visually explores the profound impact of these systemic powers on human ontology in both present and future contexts.

Running time: 1 minute 6 seconds

Exquisite Thoughts, 2024

Ellen Gillett

Taking on the simple instructions of the Surrealist ‘exquisite corpse’ game through passing footage back and forth to be edited and developed, Exquisite Thoughts takes on a life of its own, mimicking the rhythmic flow of conversation and idea-formation. The film pays homage to the strength of ideas that flourish from a lack of prescribed rules. It encapsulates, also, the important work required to move forward together. The work required to maintain a collective, a practice, a friendship. The hard work that can feel incredibly light.

Running time: 3 minutes 38 seconds

Eve’s Eden, 2025

Julia Vogl and Gabriella Willenz

Eve’s side of the story of the events in the garden of Eden. A monologue filmed at Winchester School of Art, featuring actress Mira Awad and written by Anita Diamant. Directed by Gabriella Willenz and Julia Vogl, with cinematography by Eszter Evans.

Running time: 11 minutes

Unnerved, 2026

Seth Giddings

An animated collage, made in PowerPoint, exploring biological, technological, and art-based ecologies of communication.

Running time: 3 minutes 55 seconds

Double Yellow, 2026

Rabia Raja

Tracing a double yellow line as it winds through a cul-de-sac, this video follows it closely to the point where it ends. What begins as a simple act of documenting its full length becomes a study of urban navigation, where markings intended to regulate movement instead become a means of wandering, re-reading the street as a site of intervention rather than transit.

Running time: 1 minute 6 seconds

A Sacred Place, 2020

Nick Stewart

Shot out my bedroom window around the COVID lockdown period, and initially edited as a surreal event (the sound of the power hose is my vocalization), I have now written a voiceover for this piece. It’s a declaration, a manifesto, of sorts. It is also one of an ongoing series of works, shot ‘on the fly’ out my bedroom window.

Running time: 2 minutes 33 seconds

Excerpt from Black Ball Ballads, 2023

Ian Dawson

Black Ball Ballads documents experiments with Reflectance Transformation Imaging (RTI) undertaken as part of the Mootookakio’ssin project, which digitally recorded Blackfoot belongings held in UK museums to support their virtual reconnection with Blackfoot communities.

Running time: 4 minutes

Around a Great Ellipse, 2022

Ellen Gillett

This video transports the viewer from the artist’s former studio space around the world along a great ellipse, an elliptical path around the earth. It highlights the vulnerability of ‘meanwhile’ artist spaces (this studio is now lost to property developers) and places the studio in the largest geographical context possible. The film was originally installed in the darkened space of the artist’s studio, creating an immersive experience.

Running time: 3 minutes 44 seconds