Born in London in 1942 to British and Franco-Mauritian parents, David Larcher studied palaeolithic archaeology at Cambridge University and film and television at the Royal College of Art in London. In the early 1960s he began working in photography and film, and from the early 1980s in video. His work is made in a self-taught and heuristic manner, characterized by a "just in time" approach using whatever comes to hand in a media-based and experimental process. These "home and away" movies include Mare’s Tail (1969, 16mm, 150 min.), a photographer’s home movie put through a washing machine and Monkey’s Birthday (16mm, 1975, 360 min.) a journey to the east made on a 16mm Matipo Debrie printer, EETC (1986, 16mm, Umatic, 1”video, 69min), an audio-visual transcript of lorry travels interpreted through the flights of cranes and Graves’s dictionary of poetic myth, Granny’s Is (1989, beta, hi8, 1" , 78min), video as both a learning and existential process reworked as family history in the company of the absent grandmother, videøvoid, The Trailer, (digibeta, 1993, 32min), TexT, (digibeta, 1996, 36min), dark art matter, the first two parts of a series on the nature of absence in the electronic image, and by implication in the nature of being.