Nothing is as dark as the memory of darkness (1995-2016)
Durational performance | installation with live mix CCTV
Substance, a whole history of hollows and reliefs (2017)
VR headset, hemispheric video, binaural sound, photo-etched copper plates, modded computer, steel, copper ore, copper bar.
moving images (2013)
Dual Screen installation | performances. 9 dancers
a formulated phrase reordered by movement (2013)
Angle iron, speakers, 5 channel audio playback system with integrated movement detection software, cctv camera and monitor with collaged printed paper.
Krapp’s Shultz (The dirty rats have tuned in)(2012 - 13)
Book collage, automatic screenplay, film and live analogue VJ set
Façade (Installations 2010-12)
dur.35 mins. HD | gallery installation with props and elements of production process.
Regency refracted (2009)
Dur.23 mins looped. 2 Channel stereoscopic video. Monitors and polished black porcelain.
dur.11 mins. HD video | stereo
Test Signal (2006)
dur.10 mins. Live video & sound installation
Two channel video installation with binocular views of a regency building relected in Regents canal, London.
Facade has been presented in a different context on each occasion it has been exhibition or screened. Each installation has been devised to accentuate different elements of the films production or subject so that the facade of its presentation destabilises a fixed reading of the film, which itself remains unchanged.
A stanza from T. S. Eliot poem ‘The love song of J. Alfred Prufrock’ is cut up and pasted to the screen of a CCTV monitor that displays and demarcates the space that the work occupies. Someone entering the work triggers the same lines of poetry to be ‘spoken’ by different speaker locations within the space. Each of the non-uniform speakers is held by its inherent magnetism to various lengths of angle iron that are leant against the wall of the space.
To generate the automatic screenplay Krapp’s Shultz a simple ceremony was performed with an industrial paper guillotine on June 15th 2012 at Aldgate Press, London. Following the arbitrary decisions of the guillotine operator the two books; William Burroughs, The last words of Dutch Schultz (1970) and Samuel Beckett's Krapps last tape (1958) were cut together.
The two books we're then reassembled and rebound as a single script/score. The process of guillotining, shuffling, assembling and rebinding are documented on film. The pieces of each book were then randomly shuffled and reordered to create an automatic screenplay.
Presented as Live analogue VJ set at:
>>> Whitstable biennale 2012
>>> Krapps Shultz, I’ll go on... with Beckett and Byrne, Whitechapel Gallery 2013
Nine contemporary dancers hold eight still poses with still images of the architecture they are within with a looping transfer of dancers between images.
Nothing is as dark...re-contextualsed iteration of the durational performance and installation Langue cassée, L’Usine LU, Nantes, 1995. Both works force a marriage between artifacts linked to two of the most seminal and yet seemingly unconnected figures of 20th century avant-garde art and literature - Marcel Duchamp’s Porte-bouteilles, 1914 (bottle rack) and Jack Kerouac’s Royal typewriter and scroll (infamously used for writing On the road 1953).
Nothing is as dark...introduces 4-channel CCTV and live streaming to broadcast this process based cut-up. The new focus invites connections between the seemingly arcane mechanical, chance procedures of language production used in the original work, with that of today’s networked social media.
Substance, a whole history of hollows and reliefs explores the materials and processes that enable us to create images of the earth’s surface, and reveals the scars that the extraction of these materials leave behind.
Supported by Leverhulme Trust, Rutherford Appleton Laboratory (RAL Space) and by using public funding by the National Lottery through Arts Council England.
A large video projection of Colour bars (normally used by video and broadcast technicians to verify signal accuracy) accompanied by a live choir. The Choir commences by singing the sustained tone that normally accompanies the colour bars (440hz or concert A). Their voices are picked up by a microphone and translated in real time to produce the colours of the industry standard Colour Bars. Slowly, as the composition and timbre of individual voices begin to deviate from a set tone the colours follow, modulating the different hues within the colour spectrum.
Test Signal was realised with The New London Chamber Choir for the event Phil Coy: Test Signal, Hannah Rickards: Thunder, The South London Gallery, March 2006.Test signal was made possible through funding from The Elephant Trust.
The didactic statement of the works title is played out literally. The piece remains deliberately unresolved being reworked and shown in a number of different contexts and configurations.
Each monitor displays a video landscape of an oil seed rape field in Norfolk and a Propane gas fired Bird Scarer within shot. Accompanied by field recordings of the countryside these otherwise serene scenes are occasionally broken by an unimpressive explosion from one or other of the fields.