After queuing there is a dark entrance way. It feels like a cinema, not like leaving an art gallery but like the institution of cinema has been moved into an art gallery.

TH:EC:LO:CK felt like a loving tribute to the history of cinema. Focusing on the clocks reminded me not of the seconds that were passing but of the reward for the seconds that I had spent in a cinema learning about the world and the way that others see it. To me, the power of cinema is its ability to reach out from galleries and the world of art to present ideas to more people, by putting ‘cinema’ into a gallery space it reminded me of this.

As well as affirming the power of cinema TH:EC:LO:CK seemed to foreground the aspect of filmmaking that is unique; the cut. Editing allows for the manipulation of space and time, obviously or invisibly juxtaposing images and sounds together. In a similar way to the use of jump cuts in Breathless my attention was drawn to how this was happening, just as I was being seduced by one narrative thread so that a change of place, colour or time would expose the structures that are used to create the illusion. In this way it was the joy of watching the artist have fun with the form that kept me glued to the screen rather than the power of the narrative that was playing out.