'What prevents me from supposing that this table either vanishes or alters its shape when no one is observing it and then when someone looks at it again changes back? But one feels like saying - who is going to suppose such a thing?' This was part of Ludwig Wittgenstein contribution to the long standing philosophical debate about the value of human sensory perception to logical argument. This film is Paul Bush's contribution to the debate as he changes tables, chairs, teapots, jugs, fruit, footwear and anything else he can find lying around the house.
'Bush's meticulous comic timing and our own need for meaning lends these not-so-still lives a curiously expressive quality. two apples sit side by side. One blushes furiously from Granny Smith to Red Delicious but the other remains impassive until it unexpectedly swells into a pear as if suddenly tumuscent with pride or desire. This clever film was really rather old-fashioned - it had a mischievously Surrealist air - but it was extremely witty and unexpectedly moving.' Louise Levene
'This stop-motion animation illustrates Wittgensteins' paranoid question, how can we trust that things continue to exist even when we're not conscious of them? Chairs and teapots take on the dematerialising speed usually attributed to subatomic particles, and, in a logical extension of 20th century language games and physics conundrums, the humble objects upon which we most depend give way to a madly flickering flux.' Laura U Marks
'The best British film on show, (at Cannes) will probably be Paul Bush's brief, brilliant animated short, Furniture Poetry, which puts apples, plates, tables and chairs through rigorous balletic paces.' Jonathan Romney
of the Transmediale Award, Berlin 2000