Stuart Croft’s gallery-based films explore the subjects of recurrence, entrapment, temptation and desire. Equally Croft’s practice investigates the relationship between art and cinema, asking what the possibilities are for co-opting languages of the cinematic into the context of the contemporary art space.

Croft’s films typically employ the apparatus of fiction cinema. He uses scriptwriting, actors, cinematography and production personnel to draw on familiar cinematic genres such as film noir, the road movie or the crime story. Often specific textual, editorial or installation structures are applied to these genres, creating endlessly recurrent or irrational scenarios that are brought to fruition within the circular tradition of the gallery space.

By situating his script-based, character-driven films in such a context, Croft investigates the potential interplay between cinema, dominant moving image and artist's film practice. His work asks how the conventions and generic qualities of both cinema and artists’ moving images can be appropriated, hybridised and potentially expanded upon.