Graham Ellard & Stephen Johnstone

Pattern brings together three films concerned with craft, the hand, the hand made, slowness and film itself. The subject of the three films - a gardener meticulously pruning a tree in the Ritsurin Garden in Takamatsu, a complex traditional Japanese wooden joint being cut, and a hand-built geodesic dome in a South London garden, are things that we wanted to look at through the camera. Things we wanted to spend time looking at, and to be ourselves absorbed by.

A 16mm film installation, FOSSIL focuses on the Royal Academy’s collection of historic architectural casts, copies of antique columns, capitals and friezes. They were once used as teaching aides at the RA Schools. But, since the Architecture School closed in the 1950s, these casts were hidden behind temporary walls.

The Garden in Late Autumn, and Early Summer (2019)

The film centres on a geodesic dome built in the early 1970s in a residential garden in south London. The dome was built from instructions published in ‘The Dome Cookbook’ published in San Francisco in 1968 drawing on the Utopian thinking that the dome’s designer, Buckminster Fuller, was so central to.

La Mer (Four Hands. Two Dancers. Two Films) (2018)

A live performance event that combines Debussy’s masterwork in the composer’s version for piano duet, with dance and film. Produced in collaboration with choreographer Tony Thatcher. The film was shot at Trinity Laban Conservatoire for Music and Dance, The Royal College of Music, the beach at Deal and the Goodwin Sands, a ten mile long sandbank lying six miles off the coast at Deal, parts of which are exposed at low tide.

The Pavilion was a temporary structure designed for the international collaborative exhibition by MA students from Central Saint Martins and Tokyo University of the Arts, presented as part of the Folkestone Fringe, in parallel with the Folkestone Triennial 2017.
The role of the Pavilion was to act as a site or place, within, from or around which visitors encountered events, activities, performances, presentations, talks, actions or objects.

Edge Balance (2017)

Produced in collaboration with choreographer Tony Thatcher Edge Balance combined dance and double screen 16mm film projection treated live with hand-made coloured filters.

Cut. Cast. Reveal (2016)

Cut. Cast. Reveal is comprised of twelve extreme close-up shots. In colour, of a gardener, obscured by the tree she is working on, as she prunes the branches and shoots of the box pine tree. And, in black and white, shots of students at The Royal Academy Schools in London taking down boards that for 30 years have covered a collection of plaster casts of architectural details (cornices, the capitols of pillars, etc.).

For an Open Campus (2015/16)

Shot over four weeks in November 2014 on the campus of Aichi University of the Arts in Japan, For An Open Campus is an immersive diary-form film that explores the extraordinary architecture and everyday social life of this campus world designed by Junzo Yoshimura and opened in 1966.

Everything Made Bronze (2013)

Everything Made Bronze makes compelling use of one of the most renowned of architect Carlo Scarpa's buildings, the Gipsoteca plaster-cast gallery in the Museo Canova, in Possagno, Northern Italy.

Neue Museen (2011)

Neue Museen is a 16mm film about the radical, modernist exhibition designs of Italian post-war architect Franco Albini and his collaboration with museum director Caterina Marcenaro in the early 1950s. The film is shot in the galleries of the Palazzo Bianco and Palazzo Rosso in Genoa.

Things to Come (2011)

The building of an installation and shooting of a short black and white 16mm film at Site Gallery, Sheffield. Over a four week period, a model film set was created in the gallery, open to the public, which 're-imagined' László Moholy-Nagy's film sequence made for, but never used in, the 1936 British science fiction film 'Things to Come'.

Machine on Black Ground (2009)

Machine on Black Ground combines archive material and original footage in a film which suggests both the construction of a utopian building and the world viewed from some kind of imagined subterranean space or vantage point.

Proposal, for an unmade film (set in the future) (2007)

A 16mm film shot on location in Lanzarote in the volcanic landscape of the Timanfaya National Park and several of artist César Manrique's extraordinary architectural projects.

Interview with Anthony McCall (2006)

An interview commissioned and published by BOMB Magazine, New York, with Anthony McCall.

Motion Path (2005/6)

A multi-screen video installation, shot in four buildings by Erich Mendelsohn, in Berlin, Chemnitz, St. Louis, and Bexhill.

Interlinear (2003/4)

A commission from The Crown Estate for a large scale permanent lightwork to running between Regent Street and Saville Row in London as part of the redevelopment of New Burlington Place. The design was commissioned but never implemented.

Thirteen Cameras (2003)

A series of large drawings, coloured pencil on paper, based on representations of the multiple virtual cameras from the 3D modelling software used in the production of Prisma.

Black Space drawings (2003)

A set of large drawings, graphite stick on paper, based on the images generated using 3D modelling software for the production of Prisma.

Prisma (2003)

A version of Prism, modular in form, comprising of up to 24 camera positions, to be rendered for projection according to the specifics of an exhibition space.

Prism (2001)

Using 3D-modelling/architectural visualisation software the work takes the form of a multi-screen immersive environment in which the mobile spectator encounters the differences and similarities between screen space and real space.

Head Corridor (2001)

A corridor for the head, modular in form and to be reconfigured according to the size and proportions of the exhibition space. A video sculpture exploring the architectural space of the gallery and the illusionistic space of a projected image.

Comma (2000)

A second large scale, permanent light-work for a public site. Again the result of a collaboration with architect Tom de Paor the work will be sited at a large traffic intersection on the outskirts of Cork, Ireland. The design was commissioned but not implemented.

Holding Pattern (2000)

A large scale, permanent, light-work, sited on the Lodge Avenue roundabout on the A13 between the Blackwall tunnel and the Dartford crossing. The work is the result of a collaboration with architect Tom de Paor and forms a part of the A13 artscape.

Wall of Death (1999)

Video sequences drawn from seminal car chase movies glide across a cycloramic screen surrounding the viewer bound together in an endless and futile pursuit of oneanother. A Film and Video Umbrella commission, with Cornerhouse, Manchester.

Untitled Floor Piece (1999)

A quantity of dirt, grease and paint was removed from the floor of a large warehouse space to create the illusion of sunlight falling through the adjacent windows.

After Body Press (1999)

At the invitation of Laura Godfrey-Issacs and 'home' Osterley Park House served both as subject and site for a multi-screen video installation drawing on documentary photographs of the making of Dan Graham's film 'Body Press'.

Geneva Express (1997)

Simulating the movement of a Boeing 747 as it appears to fly through the space between two large video projections Geneva Express plays upon the conventions of continuity editing and the movement of a mobile spectator. A Film and Video Umbrella commission, with The Photographers' Gallery, London.

Passagen CD-ROM edition (1997)

The interactive piece developed for the installation accompanied by a book included essays by Steven Bode, Chris Darke, Ellard and Johnstone. Published by Film and Video Umbrella/Ellipsis.

Passagen (1993)

Commissioned by Steven Bode at Film and Video Umbrella Passagen was a large scale panoramic installation using slide and data projections linked to a touch screen computer. The interface allowed navigation through a branching sequence of still images of both aerial views and the underground transport systems of London, Paris and Berlin.




All photography credits: the artists, unless stated otherwise on individual project pages.