site office [closed circuit meditation facility] (2019)
18-channel video installation, Portacabin, vinyl lettering, meditation cushions

Substance [a whole history of hollows and reliefs] (2018)
Hemispheric film installation with binaural sound (7 mins): VR headset, photo-etched and patinead copper plates, welded steel armature with copper bar and smelted copper ore, custom computer with copper cooling components, closed circuit camera and waveform monitor.

wordland
wordland

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.

as far as I know [RGB] (2015/2018)
3-channel Video Installation.
Included in 'Islands' at Annely Juda Fine Art

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.

Cataract (2007)
dur.11 mins. HD video | stereo

Test Signal (2006)
dur.10 mins. Live video & sound installation

The right side of the brain sees the colour but the left side reads the word (2003 - ongoing)
duration; variable. dimensions; variable. medium; variable
The revival of classical allusions (2001)
dur. 3.0-3.5 mins. (non fixed loop cycle)
16mm | silent

Two channel video installation with binocular views of a regency building relected in Regents canal, London.

On darkness {or} the mechanical construction of random language thrown from an island into the sea (2017)
Installation and durational performances.

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.

Lines cut from a poetry book containing the renowned T. S. Eliot poem ‘The love song of J.Alfred Prufrock’ are pasted to the screen of a CCTV monitor that displays and demarcates the space that the work occupies.

Movements made within this space are detected and trigger the same lines of poetry to be ‘spoken’ from an original recording of T.S.Eliot at different speaker locations within the space.These are presented as a collection of non-uniform speakers each held in place by their inherent magnetism to various lengths of angle iron and then leant unassumingly against a wall.This paired down combination of elements makes reference to the head and body of figures whilst echoing the material and function of the architecture the work inhabits.

>> Moving images - Siobhan Davies Studios 2013.

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

9 contemporary dancers attempt to hold 8 still poses whilst holding large still photographs replicating the architecture of Sarah Wigglesworth's RIBA Award winning Siobhan Davies Dance Studios.

The video describes a natural loop around the building as dancers transfer the photographs between them after breaking their pose, and move to another location.

>> Moving images - Siobhan Davies Studios 2013.

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.

 

>> Eastside Projects - Take 1
>> Performance as publishing
>> LUX - Sun 13 Nov 2016

 

 

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.

>> FACT
>> Open Data Institute (ODI)

 

 

A journey through the glossy images and saccharine language of the Cotswold property market. Edited from recorded telephone conversations of local Estate Agents and images of properties on the market Cataract presents an eerily unpopulated landscape punctuated by a claustrophobic language of never-ending potential. Here the legacy of The English Romantic Movement finds itself re-codified as

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.

 

A doric colum from a Herculean temple in Agrigento, Sicily was filmed in five sections on five reels. The reels were brought back to England, developed, and then projected as a verticle film from five seperate projectors.

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.

 

 

Shown as part of the group exhibition 'Islands' with Mania Akbari & Douglas White, Phil Coy & Frances Scott, Golden Family.

Mimicking Walker Evans'Subway passengers'(1938)and a scene in Francois Truffaut’s Fahrenheit 451 [1966] 'as far as I know [RGB] (2018) is a 3-channel video installation that uses the ‘analogue closed-circuit’ of CCTV to focus upon, amplify, and explode a structure of ‘digital self-surveillance’ promoted by networked mobile phone technologies.

Focus falls on the small, intimate gestures made by individuals touching the screens of their mobile devices and towards the distracted, consumptive malaise of today’s commuting populace.

 

>> Annely Juda Fine Art

12 Hour durational performance and installation On darkness…

The work used collage as a technique to conflate and disturb readings of historical discourse. The work forces a marriage between artifacts linked to two of the most seminal and yet seemingly unconnected figures of 20th century avant-garde: Marcel Duchamp’s Porte-bouteilles and Jack Kerouac’s Royal typewriter. Originally used in his durational performance Langue cassée (1995), for BEEF Coy introduces a live mix of CCTV and a triangular tape delay to focus in on the minutiae of an arcane mechanical process. Evolving over the course of a day, On darkness… builds its own grammar, magnifying its language into baroque levels of information overlay.

Bristol Experimental Expanded Film (BEEF), Bristol,

14 Dec 2017 (12 hrs)

>> Bristol Experimental Expanded Film (BEEF)(external link)

Site office [closed circuit meditation retreat] was positioned in an unpresuming location to the rear of Richard Sheppard’s iconic Brutalist Lecture Centre. The 18 channel video installation was housed within a newly introduced, standard portacabin. The work incorporated data from five-hundred CCTV collected during a campus-wide intervention – Fallen Eight. Viewers are invited to use the choreographed patterns in pedestrian movement as an aid for meditation. The work was developed with Brunel Security and performed with thirty volunteers from staff, students and local residents.

The work was installed from October 04 – 2019 until 16 December 2019 adjacent to the rear entrance of Brunels iconic Lecture Centre.

Site office [closed circuit meditation facility], uses data collected during a campus wide performance Fallen eight. The work was developed and performed with thirty volunteers drawn from Brunels staff, students and interested local residents.

Together they followed a simple rule based analogue walk, to create a pattern that is only seen from above by Brunels onsite CCTV monitoring system. Coy has edited the captured CCTV into a collage pedestrian movement combing the aesethetics of digital swarm and crowd modelling with contemporary surveillance technologies and architectures.

>> further info

Substance [a whole history of hollows and reliefs] (2018) explores materials and processes that enable us to take an image of the earth’s surface, and reveals the scars that this mineral extraction has left behind.

Substance... comprises a 2D dymaxion map projected onto photo-etched copper plates, and a hemispheric film installation, that together describe a journey between hollowed-out, caustic landscapes and the super computers at Rutherford Appleton Laboratory.

Filmed in satellite test facilities, and the ancient copper mines of Cork and Anglesey, the work meditates on time through the intersection of geology and technology. The specialist languages and materials of contemporary earth observation, are cut with the very same caustic landscapes of extraction that have enabled these technologies to exist.

>> South London Gallery
>> York Art Gallery

The conversation (2000)
video / sound installation with two-box monitors and speakers. stereo sound .dur.20 mins looped. dimensions variable.
facadefacade facade facade facade as far as i know [RGB] substance phil coy site office substance [a whole history of hollows and reliefs] On darkness {or} the mechanical construction of random language thrown from an island into the sea facade