A series of retrospective screenings entitled The Subjective Camera, taking place at Greenwich Picturehouse, will present the films of six artist film-makers whose work examines subjectivity with an analysis of film language.

On Wednesday 25 April (6.45pm) the first event in the series will focus on the work of Jayne Parker. The screening will include a selection of Parker’s works made since 1982, including I Dish, K, The Pool, Blues In B Flat, Stationary Music. The screening will also include the London premiere of her latest film, the 2005 LAFVA-funded Catalogue Of Birds: Book 3. Jayne Parker will be taking part in a Q&A session following the screening.

The Subjective Camera retrospectives examine the work of a number of artists who emerged within the context of the London Filmmakers’ Co-op during the ‘80s and ‘90s, these artists each developed an independent practice that at once built on and countered the principles of the Structuralist film movement of the ‘70s.

Their films extend anti-illusionist explorations of the materiality of film and incorporate investigations of the materiality of the body. With their shared history, that situates the artist at the centre of the physical process of putting the film together, sometimes as camera person as well as editor, these six artists weave into the film-making process a broad scope of contemporary concerns, from religion to psychoanalysis, the spaces of abstraction, voice, language and song, to the dialogue between personal and meta-narrative.

Whilst Parker's films have taken different directions over a span of nearly three decades, her individual approach is highly distinct. Always employing a pared down aesthetic, structural precision is conducted in each film where the direction and space of the camera's gaze in relation to the protagonist is woven into the performance of the film.

Speech is absent from most of her films, leaving the structure of image and sound to speak in raw isolation. Performance is central to all her films, the presence of the figure being conveyed as much by her image as in the surrounding space and the objects the body uses or, in the case of musical instruments, plays. Filming herself in her early work, her oeuvre emphasises performance as a generative process where self is in a state of becoming, a process of self-generation.

In much of Parker’s work, a resistance to a literal and singular interpretation is clear, and this is key to the power of her films. Sometimes it is in the interpretative gap that is created through the edit joins of obscurely related images, and sometimes it is a straight forward posturing of an 'almost as if but not quite' everyday activity. The subjective in Parker’s work rests within the body; its objects and its space, inside and out, as process, sound, texture, as light, as film.

Further screenings in the series will include retrospectives of work by Nina Danino, Alia Syed, Sandra Lahire, Sarah Pucill and Michael Maziere. More information on these events will be posted shortly.

Tickets for each screening are £6 and can be booked at www.picturehouses.co.uk or by calling the Picturehouse box office on 0870 755 0065.