VIDEO WORKS:
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BLUE BLUE MOVIE MOVIE - Performance and video work
An anarchic and blind monkey makes some monochromes aka Yves Klein, Frank Stella et al.
How did I happen to enter this blue period? Towards the end of 1955, I exhibited at the Colette Allendy Gallery a score of monochromatic surfaces, all of a different colours, green, red, yellow, violet, blue, orange. That was the beginning, or at least the first public showing, of this style… I had begun monochromatic painting, in addition to the everyday activities of painting which were influenced by my parents, both of them artists, because it seemed that while working colour kept winking at me, it enchanted me, besides, because in front of any painting, figurative or non-figurative I felt more and more that the lines and all their consequences, the contours, the forms, the perspectives, the compositions, became exactly like the bars on the window of a prison. Far away, amidst colour, dwelt life and liberty. And in front of the picture I felt imprisoned, and I believe it is because of that same feeling of imprisonment that van Gogh exclaimed, ‘I long to be freed from I know not what horrible cage!’ Yves Klein 1964
HOW CAN I UNERSTAND YOU? - Single channel video work
A pair of hairy hads pass painted stills from The Incredible Shrinking Man across a lightbox. The monster tries to make sense of the world of Man.
REFILMING TARANTULA - Single channel video and related works Nov-Dec 2007
Painting behind/on top of the projected image. Refilming, repainting, remastering. An act of working into the surface of film. Bringing film making closer to painting.
With this work I was attempting to explore my relation with the cinema image. To get closer to its grain. To manipulate its surface. Confront its epic scale with the physicality and texture, the viscerality of paint against the etherial shimmer of the projected moving image on the silver screen.
SLOW DANCE - 3 Channel VIdeo installation Aug-Sept 2007
3 x 15 minute videos sped up to 3 minutes and overlaid with music. The Slow Dance project began with an interest in video-making and action-for-camera, and the potential for these two processes to impact upon one another; employing dancing and time-lapse video effects to create a temporal miss-match between action and environment.
The movement in the videos takes on a unique quality; it appears to be at the correct speed, but in the background the world is moving much faster. By contrast I perform the dances in slow-motion affecting some kind of quiet disruption in public time and space. People often stop and watch, come up to me, but never talk to me; curious but apprehensive. As if I was in another time-stream, able to be seen, but unreachable.
HARMONICA QUARTET - Interactive video installation and resulting video April 2007
Installation in which participants are asked to watch one of a number of instructional video made by the artist and to play the harmonica in front of a camera. The videos are then edited together into quartets.
SQUARE DANCE - Stop frame animation, with Dot Howard Aug 2007
Created as part of a series of site-responsive works for the Alytus Biennial 2 in Lithuania.
APARTMENTS 1-5 - Single channel stop-frame animation, with Dot Howard Aug 2007
Created as part of a series of site-responsive works for the Alytus Biennial 2 in Lithuania.
