Campus' recent work Predominance of Our Constructs (2007) is series of six video works made around the Ponquogue Bay in south eastern Long Island. The works are situated between the still images of photography and the duration of moving image/film. Using HD video he creates a still-frame of a landscape, where the movement occurs within the frame and not through the movement of the camera - something which I explore in my own work. The sound track recorded at the same time reveals what one cannot see. Campus places the viewer in an isolated position – the viewer is unaware of what exactly could be taking place - perhaps nothing? In contrast Campus' older works places the viewer in a privileged position – where their own image is part of the show.

Stasis (1973) and Optical Sockets (1973) explore the formal sculptural qualities of projected video space using closed circuit video installations where the viewer experiences in real time their own image manipulated to produce unsettling camera effects - this all being cutting edge in the seventies. Optical Sockets (1973) was a personal favorite - omitting the fact that I could see my own reflection in the four video monitors, it evoked an experience of exploring the gallery space and the architectonic qualities of it through the interactivity of the video installation (the viewer walks between 4 video monitors on plinths and 4 closed circuit cameras). The precision and geometry of this installation did indeed demonstrate how such a piece challenges the relationship between artist, subject and viewer.