The last day of creation. A stranger arrives in London. No one knows who he is or where he has come from. By the time he leaves, the entire universe will have been erased.

Beginning in the pitch-black early hours of a September morning, the film follows a 14hr 17min cross-channel relay swim that I made along with my brothers Mark and Joey, a friend Ian Dale, the actor and comedian Sean Lock (Smart Alek and co-writer of This Filthy Earth) and the actor Tchili (This Filthy Earth and Ivul). The attempt was witnessed by the writer and wordsmith Iain Sinclair and is narrated by Eden Kötting. The film came about in 2006 (the 10 year anniversary since the release of the original film Gallivant) and the chance discovery of a boat called The Gallivant, which offered to shadow us across the Channel as a support vessel. Flotsam and jetsam in the form of conversations, field recordings and the voices of Gladys and Eden from the original film invade. The film shows scenes of explicit vomiting.

In the Wake of a Deadad is Kötting's powerful, often uncomfortable reflection on the recent death of his father. His Deadad.

Director Andrew Kötting and writer Iain Sinclair sail a swan-shaped pedalo from Hastings to Hackney in London in the build-up to the 2012 Olympic Games.

Andrew Kötting's film retraces John Clare's journey from Epping Forest to Northamptonshire accompanied by a straw bear.

Part home movie, part road movie, Kötting's riveting and eccentric film stars his 85-year-old grandmother Gladys - opinionated, bursting with anecdotes and contradictory reminiscences – and Eden, his eight-year-old daughter with Joubert syndrome, as they take a zig-zagging 6,000 mile trip in their campervan around Britain's coastline.

This work is inspired by the BLACK APPLES OF GOWER – a book by Iain Sinclair. The film investigates the ideas of travel, memory, history and place by cutting off a horses head and sticking it over a middle aged man's face. Made in collaboration with Iain Sinclair and Anonymous Bosch with music by Buster Grey-Jung and support from Common Ground.

From London to the far reaches of Scotland, the journey in the form of a quest for a whalebone box, related to its place of origin.

Iain Sinclair walks a section of Watling Street, the Roman road said to have much older origins, from Canterbury to London.

John Rogers takes a trip to St Leonards-on-Sea in East Sussex to go for a walk around this seaside town with the great filmmaker Andrew Kötting.

Neuro-diverse artist Eden Kötting’s remarkable drawings, paintings and collages create an illusory, animated world where the rules change and everything is possible.

A deliciously eccentric, yet touching portrait of director Andrew Kotting's daughter Eden as a young woman in their tumbledown Pyrennean farmhouse. Last seen in Gallivant (1996) as a plucky kid touring the coastline of Britain with her Big Granny, Eden, now 23, is here shown painting still lifes and singing along to the radio as the seasons ebb and flow around her. Reminiscent of Stan Brakhage's Dog Star Man, this lo-fi marvel features music by Scanner's Robin Rimbaud and a range of voices from Kotting's sound archive to explore notions of nostalgia, memory and place.

Filmed over the course of a week in October 2010, the film captures the everyday life of its Joubert syndrome-suffering protagonist, taking in her daily routines of work, play, and therapy, whilst also capturing her admirable joie de vivre against the backdrop of her loving family life.

At the threshold of the last mystery you have looked into the eyes of your creature self and watched the sun come dripping a bucket full of gold.

London Overground retraces legendary London writer Iain Sinclair’s journey with film-maker Andrew Kötting around the Overground railway on foot for the book of the same name. The film follows Sinclair reprising the walk over the course of a year rather than the day’s walk of the book.

Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.

Eden Kötting draws bright images on transparent glass, while talking with her dad about the world and the people who run it.

Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.

Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.

Each piece was edited from material that was from the SWANDOWN shoot and named Artefacts 1-5.