As with painting, natural light and colour are inexhaustible sources of inspiration for film and video artists, whose plein-air shooting radically transforms our scenic views, offering a stirring ephemerality and, in some cases, a poignant intimacy.

In Vincent Grenier’s Burning Bush (Canada/U.S.A.), a virtuosic use of video sets a burning bush alight with crimson colour and spiritual flight.

Kaleidoscopic colour, parenting and art-making coalesce in John Price’s domestic life frieze Home Movie (???????? ????) (Canada), an extended portrait of his children captured with an old Russian 35mm camera and a variety of expired film stock.

Ouverture (Canada/France) by Christopher Becks is a serene, yet kinetic in-camera meditation on an old barn in Normandy.

Philipp Fleischmann’s Cinematographie (Austria) reinvents the filmstrip by way of an astonishing 360 degree camera obscura construction, which allows for a continuous image to emerge like a scroll.

Recently blown-up to 16mm from its original super 8mm, Helga Fanderl’s intimate triptych, Blow-Ups: Portrait, Tea Time, Red Curtain (Germany) is a tender depiction of a love affair.

Anne Truitt, Working (U.S.A.) is a portrait of the Minimalist painter and sculptor elegantly observed by Jem Cohen.

Madison Brookshire’s Color Films 1 & 2 (U.S.A.) close the programme with winsome wavelength compositions of light.