London-based Canadian artist Mark Lewis has long been associated with the Vancouver art scene, and his formation in that milieu clearly influenced his critical attitudes towards various mechanized modes of image production. Lewis is part of an influential generation of artist who in the nineties first ventured into the virgin terrain that stretches between the adjoining realms of visual (‘fine’) arts and classic (‘Hollywood’) film. His elliptical 35mm film installations often reference the history of narrative film, but are simultaneously too static, too ‘sculptural’ to be fully appreciated as film; oftentimes they merely show or deploy the technical possibilities of film rather than the logic of narration that we have come to expect from them.