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.
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 DVD. Video monitors and polished black porcelain.
dur.11 mins. HD | 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.
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.