A man sits in a pub as his cigarette slowly burns. The end.

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What has changed in The Last Century is time itself; in a reversal of cinematic norms, filmic time is transformed into photographic time: movement becomes stasis. The familiar notion that photography is a ‘frozen moment’ or a ‘point’ along the time-based ‘line’ of film has only been challenged relatively recently by moving images of motionless subjects in avant-garde films by Andy Warhol or Straub/Huillet and by Chris Marker’s stop-motion movie of photographic stills, La Jetée of 1962. Yet Taylor-Wood’s impulses are just as close to Caravaggio’s desire to subvert his medium’s inherent limitations, in his case by painting dynamic compositions that have the potential to destroy the picture’s stillness with imminent movement. 
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