During this period where I entered academia and prospered as an Academic,  I made many, many pieces of artwork which were positioned to research a certain set of issues concerning the now possible higher resolutions cameras were capable of - but centrally each work had an artistic purpose, which now that my academic phase is over, continue to make the works relevant. I should also note that come 2015 after Sedition Art had started and rung me to join the ranks of their curated artists, a lot of the works from this 10 year period are present for sale on their site. I begin the list of works to the right, some years earlier as my work was heading in the direction that academic research was going to take me into - significantly I was asked to make some installations for the 1993 Bonne Biennale (but didn't get through the financial process) a work called 'White Goods' which was to be a simulation of a room with a fridge, a white sofa, a dish washer, a dinner table with a white table cloth, a bed, a washing machine - upon which projections would have not only brought them to life but added a ciritcal turn to the work. A fridge holds commodities that have traversed the earth when in fact we have a lot of the things locally. The key work that came out of this was initially The Dinner Party and later became In Other People's Skins which ran at the Cathedral of St John the Divine in New York for several 6 month runs with around 1.2 million attending from 2010 onwards.

​In 2006 a friend said to me something akin to: Why not give up the struggle and take the Kings Shilling? I said why? He said, because the Arts Council has about 100 million and the Film Council the same - whereas the Research Councils had about 3 Billion. The change from 'M' to 'B' did the trick and I applied for an AHRC Creative Research Fellowship which I got and I was told be a variety of professors at University of Bristol that this was a high accolade as only about 3 were given each year.

I had been doing visiting lecturing since the mid 90's (notably at Duncan of Jordanstone with Steve Partridge as head of course - the job was to get the kids who were too often in the dark (literally)  out into the daylight. I understood both states and so was happy to do this and lectured at many places. Now I was to be a full time academic. I had written a variety of trade articles about analogue video, digital video and HD - and also in 99 as previously said marshalled in for Du Art labs in NY a film out from the very very new Sony HD camera (a mod which George Lucas was using) which swapped off luminance for resolution such thsat HD at that time was like shooting reversal film with zero tolerance of the wrong Fstop. The point is I knew what I was doing on all practical levels and was also forumating ideas about HD being 'a portal' through into an age beyond film (to where we are today). So my basic problem was to learn to write academically so that 'The Academy' could grasp what was happening. 
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Fortunately I came a across a planetary dust cloud astrophysicist, Amara Grapps, who told me about the very important Wavelet Transform created by Fourier, which had only just become an operable tool to effectively power the incoming (though short) digital age. Previously Fouriers Discrete CoSine Transform had been used but fundamentally it was a 'meat grinder' of an algorithm and was not kind nor clever - whereas the Wavelet transform was both (and encoded echoes of todays so called AI back propagation - which simply means when the algorithm gets to the back end it checks with the beginning of the maths to keep it on target). AT this point most signal processing engineers will be squirming because that's a ridiculous description - but the main skill I have had in academia is being able to frame an idea for academics from what engineers tell me - so that both can carry on in the same room as if they understand eachother (in fact I used this technique when we were proving HDR and 3D without Binocular Stereoscopy (an anaglyph 3D effect is a form of stereoscopy that creates two distinct red and blue images to produce a single 3D stereo image).
I finished the AHRC fellowship, won a knowledge transfer fellowship and by 2013 I'd transferred Universities to become a Professor of Cinematography and Director of the Centre fro Moving Image Research. We had a variety of successes, ran two cinematography festivals and I was asked to come to LA to consult with AMPAS on HDR production and attended the ASC Cinematography Summit where I spoke in front of around 100 ASC members including Vitorrio Storarro who shot Apocalypse Now...  In 2015 I and a band of enthusiasts organised the First Bristol International Festival of Cinematography followed by a second Festival in 2016. The principle was to take the Arnolfini in Bristol which has a 200 seat auditorium and ask eminent cinematographers to come and speak about their craft - but also critically, to demonstrate that in a series of workshops taking place in front of the audience with a set of screens for the audience to see exactly what was being achieved in lighting - through the Camera: 


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NEXT: 8. CineFest   2015 - 2016 ​The Bristol International Festival of Cinematography.
Click this link to see many of these works on the right on Sedition Art
The first piece in the list below was commissioned by Channel 4 and the Arts Council and screened on CHannel 4 and at the Tate. I mention it here because it developed through 1, to 3 pieces, to 7 piceces to 14 pieces, to 21 pieces to more than Ip;ve bothered to count...

1989 The Inevitability of Colour which became
The Colour Trilogy with the edition of 2) Echo's Revenge (1992), The Object of Desire (1992) which then became:
14 History Lessons, 18 Visions, 21 Beatitudes' and premiered at Salisbury Arts Center Autumn 2010 including Colour polyptych In My Own Footsteps, Part 1 (07), Part 2 (08) Part 3 (08) - Epilogue: Unreal Timepiece (05 - 08), Thr Eye Projects the World (05), TImepiece (05), Echo's Compassion, Echo's Gift (06) The Mystery at the Heart of Meaning (07) and finally became
1989 - 2018 Myth and Meaning in the Digital Age

1992 Zagorsk  4 minutes
1999 Skin Deep 25 minutes for HTV 
2002 Towards Aquarius 
2003 On This Day The Eternal Flame Of The Chimera Burns
Forever  2 minutes 30 seconds
2003 Forever 22 minutes
2003 WINGS (1 Georgia, 2 Present Birthday, Frida)
2003 THE DINNER PARTY 
2004 DANCE FLOOR  (Standard Definition 1st Version)
2005 The Garden Wonder, ITV 
​2006 The Birds
2006 The Bristol Harbourside Installations
The BBC Come Visit
Night on Perot's Bridge
The Dockers Window
​Pero's Bridge Sound Installation
Footsteps
2006 Blink Title Sequence)
2006 One Second to Midnight (Russian version - followed by the Chinese version) 
2008 In Other People's Skins 1st HD version
2008 The Unfurling      
2008 The American Dream
2008 Autumn Dusk Cafe Scene
2008 The Sum of Hands 
2008 Dance Floor (HD Version)
2008 Un Tempo, Una Volta 
2008 Portraits of the Somerset Carnivals   
2008 Portraits of Cannaregio - Un Ritratti di Cannaregio  
2008  Portraits of Glastonbury Tor  
2008 The Dinner Party (HD Version)
2008  In Re Ansel Adams
2009 One Second to Midnight Chinese Version 
2009 The Divine Being, Inscribed
2010 Three Plasma Portraits: A Moving Portrait of the Poet Elisabeth Beech     
2010 Self Portrait in the Digital Domain
2010 Mes Petits Cartes Postales des Beijing
2010 Portraits of the Flat Iron, New York  
2010 Portraits of the Arrow Tower, Beijing  
2010 Portraits of Shoreditch, London  
2010 Until I'm Gone 2010 - Set of 6 prints       
2010 Wood, Wave, Wetland, Moor
2010 The Elemental Wave      
2010 The Unfailing Landscape    
2010 James loves Sarah
2010 Glastonbury Tor   
2010 Smoke Piece    
2010 In Re Richard Long      
2010 Water Table (HD Version) 
2010  Portraits of the University of Bristol's Centenary
2010 - 2012 Monumental Portraits of the Working People of Somerset
2010/2012 In Other People's Skins 2nd HD Version
2012 - 2015 The Intersection of Dreams (In Re Salvador Dali) Triptych
2012 - 2013  Kings Canyon  single screen 3D cinemontage
2013 'THE HUMAN CONDITION' 2013 world's Ist higher frame rate, HDR movie 
2013/2016 Portraits of the Youth of Bristol
2014 Trees single screen 3D cinemontage  
2015 Reflection on Water 
2015 Tryptych Westhay Somerset single screen 3D cinemontage
2016 Triptych: Reimagining Venice 
2016 Triptych: Reimgaining Fuerteventura 
2017 Barcode Jesus in a Material World 
2017 Landscape Tryptich, Kings Canyon, Westhay, Fuerteventura)
2017 Line Dance for Norman McLaren – available on Sedition 
2017Stained Glass Nature – available on Sedition 
2017 Cathedral Steps (after Max Escher) – available on Sedition 
2017 Drawings and Inscriptions – available on Sedition 
2017 The Divine Being, Inscribed – available on Sedition 
2017 Portraits of New York – available on Sedition 2014/2017
2018 'TO STAND AND STARE A SOMERSET LANDSCAP'E - with Charlotte Humpston, Josh Randall, 72 minutes 
2018 SIgns and Symbols of the Human COndition
2019 Arabesque: The consciousness of the Least of all the Species, The consciousness of the Least of all the Species,  The Consciousness of Trees
2018 Drawing, Inscription, Abstraction
New Retrospective:​ Terry Flaxton: A Life in Video Art
​Roseberry Road Studios
​Preview 6th October (6pm - 11pm)
Then showing Friday, Saturday, Sunday from 11am until 5pm through to 5th November
28 Roseberry Rd, Bath BA2 3DX 
Upcoming Exhibitions in 2024
- UK RWA Open Bristol September - December
- Australia, Adelaide July, A Life in Video Art, Retrospective, July
- Sedition International, Online Release, Un Tempo Una Volta, April
- Italy Palazzo Albrizzi-Capello & Palazzo Bembo, Exhibition titled Visions, Venice, March

​Between 2008 ​and 2023 Terry exhibited work in the China, USA, Australia, Ireland, Italy, Netherlands, Japan, Germany, Korea, Portugal, Iran, Turkey, Slovenia, Sweden, France, Norway, Malta, Madeira and the UK - some of these countries many times. A complete list of Exhibitions between 2008 and 2023 follows beneath the section on exhibitions beneath 1978 and 2007.
EXHIBITIONS Between 1978 onwards
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In 1978, the Fashion show, (made in 1977) was exhibited at the Long Beach Museum by Kathy Rae Huffman, (curator of moving image work). Next came the Fourth Tokyo Video Festival where Flaxton, Cooper and Dedman's piece (written by Flaxton) Talking Heads, won a prize. From then on Flaxton's work was shown at many festivals, notably the Worldwide Video Festival in Den Haag, Netherlands, but many, many other places including Moscow, Tokyo, Algiers, San Francisco, Locarno, Montbeliard, Paris, Milan, Rome, Seoul, Amsterdam - and many other places around the world. In 1986 the British Film Institute as well as Channel 4 asked Flaxton to Shoot “Out off Order” the 3rd electronically produced and released on 35mm ‘film’ in history (after “Harlow” starring Ginger Rogers, 1965 and 200 Hotels, 1972). Though travelling as a cinematographer and occasionally exhibiting between 1992 and 1998 there was a hiatus in Flaxton's work between Zagorsk (1992 and Skin Deep (1999) Flaxton in fact worked on many artists pieces and brought a high level of lighting to many people's work.

Having come across HD in 1990, between 2000 and 2007 Flaxton concentrated on HD as a developing production form and tested cameras for Panasonic and Sony and by 1999 he had shot an HD work in the US which was mastered as a 35mm output at Du Art Labs in New York - and from then on spoke at many seminars including the NFT to speak about the transition form Standard Definition (720 x 576 pixels) to the then low level HD Standards of 1280 x 720, the faux HD of 1440 x  1920 and finally the full 1920 x 1080 standard that we all know today (2023). So in eventually entering academia in 2007 with an AHRC Creative Research Fellowship - where the candidates charge was to discover how technical and creative innovations feed upon each other, Flaxton then began a second wave of production as an artist - where, having spent many years on moving camera cranes and dollies - Flaxton chose to use HD and the camera itself as a window, a portal on, not only the world - but importantly on the very thing that looks: the self. By 2015 Sedition Art had arrived and was a perfect fit for what Flaxton later called his 'Chamber Works’. Flaxton also began producing long form moving image artworks during this period characterised by “Myth and Meaning in the Digital Age” (began in 1992 and finished in 2018) , “To Sand and Stare: A Somerset Landscape” (2011 to 2018) and latterly “Mexico: Landscape of the Heart” (2023).