“Cutting the image down into rhythmic clusters, isolating the fragment from its original real-time context and remixing it, Partridge pushed against the time barrier which he further broke in such large scale pieces as Interrun, 1989, a decade later. In some ways, he was in parallel with Cunningham’s own fusion of live and recorded sound, devising ways of sampling long before the technology was available or even named.

Interrun us a 34 monitor video wall (with sound by Lei Cox), in which angles and planes of the Scottish landscape sometimes make up a whole image dispersed over all the monitors, and at other times break down into successive distinct shots and sub-grids. In one sense, and akin to the cut-up videos of the later-seventies and beyond, this piece takes up the complex ‘montage within the frame’ as well as his rapid-cutting, but here in a new media context.

As a pure example of ‘landscape video’ in Partridge’s output, Interrun is in the larger tradition of landscape art – and on the grand scale. It also shares the radical revisioning of landscape pioneered by such structural filmmakers as Chris Wrelsby and William Raban,…” Al Rees, Stephen Partridge, cat, Univ of Dundee, 1998, MONITORING PARTRIDGE, Al Rees