The 1990s saw the arrival of digital technology which allowed for more complex manipulation of the video image. Artists gained the freedom to ‘cut and paste’ within moving images, to create visual collages and hybrid photographic spaces. 

Films showing in this section: 

3.27 Judith Goddard Garden of Earthly Delights 1991
3.34 Clio Barnard Hermaphrodite Bikini 1995
3.40 David Larcher VideOvoid - the trailer 1993

Judith Goddard Garden of Earthly Delights 1991

3 minutes. Collection: Artist 

Like the work by the Netherlandish artist Hieronymus Bosch (c.1450-1516) from which it takes its title, Judith Goddard’s The Garden of Earthly Delights is a triptych made as a gallery installation. Her work’s dystopian view of life in 1990s London is assembled from many video fragments, and relishes the resulting Bosch-like multiple viewpoint.


Judith Goddard was born in 1956. She studied at University of Reading and Royal College of Art, and has taught at the Rijksakademie, Amsterdam, and the Slade School of Art, London. Goddard is primarily a maker of installations, some site-specific, many involving elements of interactivity. 

Clio Barnard Hermaphrodite Bikini 1995

5 minutes. Collection: Lux 

Digital technology allows fantasy and reality to collide in the visual treatment of Clio Barnard’s film. A young man’s account of his struggles with a treasured bra is intercut with a comforting vision of winged hermaphrodites. 


Clio Barnard was born in Santa Barbara USA in 1965. She studied at the University of Northumbria, Newcastle, and Duncan of Jordanstone College of Art, Dundee, and has worked as a producer/director for MTV Europe. She currently makes works for television and installations

David Larcher VideOvoid - the trailer 1993

30 minutes. Collection: Lux 

‘David Larcher’s VideOvoid is a jokey but visually entrancing game with electronic imaging, and a particularly beautiful soundtrack. A skilful clown, Larcher plays upon the dead-end of the aesthetics of medium-specificity until it produces a Zen encounter with the void at the heart of the work, and by inference, the medium of electronic imaging itself.’ Sean Cubitt 1995 


David Larcher was born in 1942. He studied at the University of Cambridge and the Royal College of Art, London. Initially a professional photographer, he used the film-printer to develop a film language unlike that of any of his contemporaries, creating two epic-scale feature films Mares Tale 1969 and Monkey’s Birthday 1975. A decade later he used new video and digital technologies with similar originality in a series of works made for television. He teaches at the Film Academy in Cologne.