English-born filmmaker Chris Welsby writes of his films, “Each...is a separate attempt to re-define the interface between ‘mind' and ‘nature'.... this delineation is constantly changed and adapted both as a definition, at a material level, and as a working model, at a conceptual level, to each unique situation or location. Without this essentially cybernetic view of the relationship between ‘mind' and ‘nature,'...nature becomes nothing more than potential raw material at the disposal of ‘mind' acting upon it. This raw material is most visibly manifest in that subdivision of ‘nature' termed ‘landscape.' The wilder and more remote this landscape is, the further it is removed from, and the less it exhibits those signs which mark the activities of ‘mind'.... (T)he camera...can be seen as a potential interface between ‘mind' and ‘nature.'”
Estuary
“Estuary was...shot from a small cabin boat moored near the mouth of the Keyhaven River.... The camera was fixed relative to the motion of the boat as it responded to the action of wind and tide.... The ‘takes' themselves emphasize the variations of the motions.... Changes of light and weather conditions, fluctuations in the height of the tide and sudden changes in wind direction are accentuated by the intervals between these ‘takes'....”
• (1980, 55 mins, color, sound, Print from filmmaker)
Plus short films:

Cloud Fragments

• (1978, 10 mins, color, silent, Print from filmmaker)

Sea Shore

• (1979, 5 mins, silent, Print from filmmaker)