Everything Has Turned to Dust III (2023)
Installation and screening as part of Space Time Matter, Lincoln Arts Centre (October 2023)
Everything Has Turned to Dust (2022)
When extraterrestrial life reaches Earth, this being in a few months, years, or centuries from now, all we can be certain of is that there will be surface below and sky above. This terrain may be worn, beaten and warped from how we know it today. Whatever senses the extraterrestrial beings may have, whatever scale they may be, they will experience our landscape as ground and sky.
In this future, everything has turned to dust. There are no objects which remain, and all that once existed has deteriorated and broken down into grains of matter. As a video installation, the captured terrain takes inspiration from the post-apocalyptic Zone of Tarcovsky’s Stalker, and a soundscape dips between abandoned brown noise and cuts of empty silence.
The piece was filmed in colour and is unedited with the exception of stitching together the different shots.
Installation of Video, Display and Sound Monitors, Custom Welded Metal Plinth
Installed at Taking Place for UK New Artists (November 2022) and Two Plus Two Makes Four for The Auxiliary Gallery (February 2023)
The Blob (2023)
Filmed onto a VHS cassette, the work considers a future proposal for how humanity will react to the integration of robots in society. Avoiding the uncanny humanoid with synthetic facial expressions and artificial voices, the piece uses instinctive sound and anthropomorphic ideas explored in the Helder and Simmel studies to introduce an emotive understanding between the human (us) and the future robot (the programmable-ferrofluid-blob that will save us all).
This piece was commissioned by the University of Lincoln and formed from research undertaken by Professor Marc Hanheide.
Installation and Short Film (2023)
Installed at Lincoln Cathedral as part of Creative Reactions
De Motu (2020)
De Motu details a solitary pursuit towards Mermaid’s Pool, situated in a moorland plateau of the Peak District, more than two-thousand feet above sea level. According to folklore, the pool is connected to the Atlantic Ocean by an underground tunnel, as well as being the dwelling place of an immortal water nymph. In an installation of print, projection and screen, the artist presents a nine mile journey to the pool, undertaken in sub-zero conditions. The static fuzz generated from audio-data recordings of the harsh winds, acts as a peripheral to the CRT-encased film. The title, translating to of motion, is an echo of the idea that the existence of specific matter may not need evidential investigation, as all of reality is emotional, conceptual, and perceptual.
Installation of Video, Projection and Print (2020)
Installed at BACKLIT Gallery, Nottingham.
Walking with Aliens (2019)
The 1999 BBC documentary series Walking With Dinosaurs was produced in response to proven archaeological evidence of the existence of prehistoric creatures that once roamed the Earth. The series uses CGI to portray how they may have lived, with orchestral music and dramatic narratives. Today, we have access to thousands of images and recording of UFO sightings and first person accounts of alien experiences, yet we do not yet know extra-terrestrials beings to be ‘real’. The installation explores how the future film Walking With Aliens could be constructed, 20 years after its predecessor, with moving images from a selection of documentary VHS tapes. The viewer is invited to observe the scattered sources of footage and use the analogue AV sliders to fluctuate between two channels of audio: the first a cinematic soundtrack, and the second a series of verbal accounts of UFO experiences. By selecting a genre for the footage, the participator makes the decision whether to believe the sightings in a documentary format or treat them as cinematic science-fiction.
Installation of TV units, live feed cameras and interactive sound/vision mixer (2019)
Installed at Frequency Festival 2019 in a vacant shop unit.
Filmed onto a single video 8 cassette, a Sony Trinitron Monitor contains the salvaged footage of the artist's series of experiments to make contact with extraterrestrials, in an attempt to produce the best evidence ever caught on tape. The experiments came after an amount of research and preparation, which was important for a sense of being, and ultimate presence. It was never a quest for perfection and the inevitability of failure was understood.
Installation and Short Film (2017)
Installed at Project Space Plus, Lincoln; Free Range, London.