Mark Lewis – Landscapes

This exhibition includes six films by Mark Lewis dealing with landscape and urban shots. His films are the outcome of a lengthy work process (location photography, shooting and editing) involving extensive location research and prolonged studies for a place and a setting, which the artist then stages, transforming them to suit his vision.Thus, the simplicity in Mark Lewis' films is merely apparent; the camera movements, the compositions, the light and the characters' actions are based equally on real-life and imaginary situations, and often refer to old painting and the cinema.

In Algonquin Park, Early March (2002), the camera zoom gradually reveals a grandiose landscape in which, in an almost surrealist way, ice skaters are introduced into a small rectangle designed for the purpose; meanwhile, the apparently providential passage of a boat on the sublime location where Algonquin Park, September (2001) was shot is an occurrence that leaves just as little to chance.While Windfarm (2001), may be seen as a nod in the direction of the great tradition of the American western - a horsewoman accompanied by her dog inspects her flock of windmills - Airport II (2005) appears to promise action - in the end nothing comes of it - as is common in TV soaps. The same goes for Jay's Garden, Malibu (2001), shot at a location usually used for porn films; the camera exploring the site catches nothing but preparations or harmless conversations, a far cry from the systematically programmed resolution of the films usually made in this garden.Lastly, the city, with its buildings, its anonymous inhabitants and children's games, are the focus of interest in Tenement Yard, Heygate Estate (2002). Here again the scene is played out in a way that is very much accidentally on purpose: the characters all have a definite role to play and the picture is centred as a tribute to 19th century romantic and realist painting.