Their work continues to be documented in both the UK and Spain where its members remain active in using the group's spatial theories in various workshops on the video installation and architecture.

Their work was dealt with in a documentary made in 1999, and was subject to extensive analysis in the 2007 international publication El arquitecto detrás de la cámara – una visión especial del cine, Abada Editores, Spain.

In part based on the idea that cinema has been a natural testing ground for architects examining alternative approaches to their discipline,[6] these films used camera angles, movement, composition, framing, depth of field and illumination to “defamiliarise” the usual visual understanding of the space presented on screen.

Involving a collaboration with dancers, sound and video artists it was a multi media piece performed in the Ferens Art Gallery, Hull and described as a 'cinematic experiment in our perception of space'.

In this regard the precedents used by Hybrid Artworks were multiple and included groups and artists like Bill Viola,[11] Bruce Nauman,[12] Gary Hill[13] and Dan Graham,[14] to name but a few.

It was based on the interplay of three principal components: i) the script and its performance, ii), the gallery space and its plan layout and iii) a multitude of recorded material of which film was of central importance.

Continuously placing the events retold in conflicting and contradictory perspectives, this narrative strategy was intended to instigate multiple different interpretations of the same basic text.

The result was described as twofold; the piece was interpreted more as performance art than standard theatre and its narrative reading became more complex as more visual references were overlaid.

Given this independence from physical action, it represented the culmination of a project that had moved from the realm of theatre, passed through the field of performance art, and finally positioned itself completely within the theoretical framework of video installation.

It was an evolutionary process intended to echo Kate Murdoch’s definition of the three-part typology of the screen viewing experience offered in a historical context by Lev Manovich in The Language of New Media.

[23] In 2007 some of their work was documented in a book on architecture and its relationship with film and the moving image: El arquitecto detrás de la cámara – una visión especial del cine.

Various projects involved collaborations with: Nik Prescott, Scott Bryson, Danny Phelps, Noel McConville, Rob McGrath, Diane Dubois, Jes and Sue White, Simon Galbraith, Lucy Strutt, Andrea Taylor, Sal Doxey and John Simms.