Nicky Hamlyn
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 | A major contributor to this article appears to have a close connection with its subject. (September 2015) |
Nicky Hamlyn is a British filmmaker, artist and published author working in Structural film. He has been making films for two decades. His work explores the basic elements of the filmic experience: the relationship between film space and the film frame, between time, flicker and movement, and between light and the material image. He contributes to journals such as Film Quarterly and has published Film Art Phenomena on structural/material film. He was workshop organizer for the London Film-Makers' Co-op in the late 1970s.[1] (Further bibliography of film works and full citations)[2]
He graduated in Fine Art from Reading University in 1976 and is currently a Professor at the University for the Creative Arts in Maidstone, lecturing in video Media Arts and Visual Theory. He has exhibited films with a fellow Professor, the film director and writer Andrew Kotting in 2008 at The George Rodger Gallery in Maidstone, Kent.
Screenings of his work have included include the Royal College of Art, London (2006) and the New York and Toronto International Film Festivals (2007).
He has had one-person shows at San Francisco Cinematheque, Pacific Film Archives, Berkeley and Double Negative, Montreal (2007).
In November 2009, he exhibited films in Unit B9, The Powerhub. This is a former commercial vehicles factory, situated by the river Medway in Maidstone and viewable from Maidstone East railway station. He exhibited in conjunction with a number of emerging artists including the photographer artist, Sebastian Edge. The work was entitled '5-9', intended to exploit the dusk to night time light of the semi-industrial urban landscape on this part of the river. All the work was designed to be projected onto the windows of the gallery, and can be viewed from the railway footbridge opposite, as well as from inside the building.[3]
In his most recent work, produced on an artist's residency in Toronto, Nicky has been concerned with exploring and trying to refine the relationship between the camera and its profilmic. All the films are silent and have been made frame by frame, in the manner of animation, and include rural and urban landscapes and domestic interiors.[4]
References
- ^ Film Art Phenomena by Nicky Hamlyn │; A Critical Cinema 4: Interviews with Independent Filmmakers by Scott MacDonald
- ^ http://www.arts.ac.uk/research/filmcentre/bibliographies/hamlyn.html
- ^ http://www.5-9.org.uk/
- ^ http://www2.binghamton.edu/cinema/visiting-artists/