SELECTED FILM SHOWREEL 2019-2020
LEE CAMPBELL SELECTED FILM SHOWREEL 2019-2020
LET RIP: A PERSONAL HISTORY OF SEEING AND NOT SEEING (2019)
8 minutes
SEE ME: A WALK THROUGH LONDON'S GAY (UN)SEEN (2020)
6 mins 8 secs
HOW CAN I GET MY PARTNER TO BE MY FINGER? (2019)
6 minutes 26 seconds
LET RIP: THE BEAUTIFUL GAME (2020)
4 minutes 57 seconds
LET RIP: BODIES LEAN AND RIPPED (2020)
7 minutes 49 seconds
PEER (2020)
18 minutes 52 secs
TACKLE (2020)
15 minutes 52 seconds
WRONG KIND OF FAT: SOME BEAR OVER THE PAIN-BOW (2019)
1 mins
I am interested how the medium of film and photography (that particularly include collage-methods) considers male body image/self-representation particularly from a gay male perspective has been coded, performed, and socially constructed from the 1960s to the present day. Applied humour as a tactic to subvert and challenge issues of representation, my current film work presents a personal archaeology and revolves around my own autobiographical perspective, using the mechanisms of comedy and humour as an integral part of my work to engage, disarm, and highlight.
With a background in Painting and then Performance Art, my current artist moving image film practice brings together personal drawing, painting, photography and performance. Collage has become a major tool in this recent film practice, reinvigorating paintings and drawings that I produced nearly twenty years ago which are juxtaposed throughout my films with current photographic and performance for camera work. These films are often made with reusing / repurposing personal archival material and sound and moving image recordings. Things insist, in a spiral, nothing’s wasted. In this new exciting phase of my practice, I use all my capacities, from theatre to drawing to painting to language to the comic to the affective to the relational, to painting and performance and film. Excavating (fine art) work I made long ago and resuscitating it, I bring it back to life through the medium of film and moving image. Integrating my fine artwork into my film work, my films create an arresting palimpsest effect by recycling pieces from previous bodies of work and placing them within my current context to see how their meanings may now differ from when they were first conceived. Whilst what is presented through my films can be read as one person’s (my) narrative, so too can it easily be read as lots of different voices layered to talk about wider levels of experience with various references to cultural context that (any)one can relate to.
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