In Martin Hearne’s silent Central Figure, from 1978, an unmoving, upright male, in dark clothing, with shoulder length blond hair, is positioned next to a white suitcase-shaped box in an open expanse of parkland. A large, rectangular building is at times also visible, as the camera travels in circular pathways, moving alternately closer and further away from its fixed, central subject. Distortion of frame rate produces a jerky, dislocated feel, with passers-by and two dogs sporadically materialising and rematerialising, allowing moments of complex figural composition to emerge in relation to the central, static point.