Video projection
Erdös-Bacon number is about a system of measurement which describes the closeness of mathematicians to the entertainment industry. Two subjects move from descriptions of their past careers as both performers and mathematicians. It is a work full of mathematical and theatrical detail that looks at how we build identity through our choice of profession. As the job market becomes increasingly flexible where can we locate a coherent sense of identity? The body is offered up as the location for this coherence. Actual biographical detail, merges with a theatrical framing device, to site the work somewhere between fiction and non-fiction.
Cinematic sculpture
I am not Brad Pitt is part sculpture, part cinematic space. The soundtrack bleeds into surrounding exhibition space but entering into the object the sound becomes focused and a glowing text is found. Actor Stuart Prowse discusses being typecast and the borderline between being paid to act as a fictional character, but not to be the subject of a documentary.
Two channel video installation
World’s fastest violinist is an investigation into the prevalence on YouTube of videos demonstrating speed. How does this YouTube talent convert into real world rewards? The 1st video is an interview where Oliver Lewis discusses breaking the Guinness World Record and his career as a violinist-hand-double. This interview is shared through YouTube where it sits amongst 56,000 other search results for ‘World’s fastest violinist’. The 2nd video is designed as a large projection in an exhibition space, where the isolated hands bow and pluck at the space. An exchange occurs between exhibition space and the YouTube platform.
Two channel video installation
Starring Eunice Gayson is a two-part sculptural video installation about the first Bond girl. Two viewing booths constructed from acoustic, printed and projection materials are suspended in space. Inside the booths a focused viewing experience of each projected video is offered. Outside the two booths the imagery and soundtracks of the two videos crisscross, generating a series of junctures. The work explores the slipperiness between fiction and autobiography as the aging British beauty casts a critical eye across the Atlantic and back through time. The story of her uncontrollable eyebrow is at the heart of this work.
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Sculpture that intermittently has a voice
The sculpture asks its viewers to wait a minute. Once inside the performer delivers a 5-minute monologue - a collaged exchange between a patient, who is making a red drawing, and their therapist. Using the tropes of therapeutic language and asking "how does that feel?", the work tests the awkwardness feelings and their relationship to the body. When the performer exits the sculpture, and wanders off, does the object hold its ground against contemporary sculptural values?
Performance
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