*THE GOLDEN COACH 1996
(French marigolds in polystyrene bricks) 9 metres by 4 metres in this installation
From a film by Jean Renoir starring Anna Magnani, as an actress with a travelling theatre, who adored by everyone in the provincial town, including the local cardinal, finally scandalises the population by accepting, then rejecting his gift of the ceremonial Golden Coach.
After realising she cannot leave the world of the theatre and her fellow actors, she steps out of the carriage and renounces her claim on ‘the so-called real world’.
Seven rows of French marigolds; the gaps between the rows the same width as the rows. The gap between the edge of the ‘field’ and the walls of the barn is slightly larger. On entering the space one must make a decision to enter the field or conserve its integrity by walking around it. At any point therefore a decision must be made and one must be aware of making this decision.
– ‘Even in their ruined state…. The tombs become tombs of themselves.’ Goethe – ‘Ruisdael als Dichter’ referring to Ruisdael’s painting ‘The Jewish Cemetery’ now in Dresden.
the tombs in the grounds of the Suleymaniye, Istanbul which are thickly planted with irises.
*THE BLEACHING FIELDS 1996
(Wallpaper strips in field, cows, cellulose)
Strips of wallpaper laid out across a valley, joining two fields as though sewing them together. Curious cows gather and investigate delicately, without treading on the strips.
STATELY HOMEBASE 1996
(Corrugated Perspex roofing material, bolts)
Broken columns / cloche – tree protection.
INFERNO from 1996
Photographs of Green Park taken at (impulsive) gratuitously accidental moments, a Duchampian indifference allied to a non-directed frustration.
Attached to these photographs which have been later de-composed i.e. re-cropped according to a page formula randomly selected verses from Dante’s inferno. Making no connection and every connection between the two. (Virgil is the camera)
*CAR DEALER 1997
(Windscreen sticker on car) series of ten cars distributed throughout Europe by now.
From the painting by Poussin – ‘Et in arcadia ego’, in which a group of shepherds unexpectedly and to their great confusion discover a tomb and therefore the presence of death (or at least impermanence and change) in the midst of their paradise. This Arcadia, therefore, is wherever the car is.
*5,000 SWIFT ATTACHMENTS 1997
(Plastic price tags attached to a chicken wire ceiling) 2.5 metres by 2.5 metres
A laboriously repeated simple action.
A bitter piece, deriding the supposed nobility of manual labour and the fickleness of men.
*UNIVERSAL PANSY 1997
(Chrome ashtray-topped white plastic waste bins, Universal pansies) 3/4metre by 30 cms, x 12 installation dimensions variable
A constellation of waste paper bins of the sort used in municipal offices, the ashtrays ready for extinguishing your cigarettes; while the bins themselves are filled with living pansies of the sort used in municipal parks. The fag/pansy pun is one that no one actually got or dared express.
And the people who stubbed out their cigarettes were divided in the same way that people who step on Carl Andre’s floor pieces are – into idiots and aesthetes, most people being afraid to interact.
– As individual, as it were, portraits they refer directly to Gainsborough’s paintings of for instance ‘Mary Countess Howe’, ‘the Hon Mrs. Graham’, ‘The Earl of Bute’, ‘Sophia Charlotte Lady Sheffield’, etc.
*‘IN SHORT……. EVERY LIVING THING’ 1998
(Wooden platform, linoleum tiles, sheet copper) 2.5 metres by 2.5 metres by 1 metre
A quote from Chekhov’s ‘The Seagull’ in which, on a rudimentary stage in the evening, as part of a play within a play, everything that has ever existed (and has therefore now died) in the world is represented by a seemingly interminable list of creatures beginning with the amoeba ……….. and ending ‘in short……. every living thing.’
Steps lead up to the stage itself, from the audience, not from the wings or the back.
*THREE DRY JETTIES 1998
(Garden timber, treated. Galvanised nails.) 2 metres by 40 cms by up to 1.5 metres depending on slope of ground
On one side of a waterless, chalky valley three jetties extend, each only just visible when standing on one of others, i.e. all three are only visible when standing on the middle one. It is possible to jump off without drowning.
– T.S Eliot ‘The Dry Salvages’
Cezanne – Mont Sainte Victoire
Catwalks, moorings, the statue of Cicero as orator.
*I.V. TOWER 1998
(Shower curtains; various flowering plants)
(Plywood and white emulsion) 3 metres by 25 metres.
Location shooting. Somewhere over the rainbow.
– The Real Estate sign
Thoreau – ‘I have travelled far in Concord ‘
Stein – ‘there isn’t any there, there’
FACT SERIES from 1999
(Pencil on paper)
Repeated hatched lines (approx. 7 per motif) rotated not at random but deliberately, consciously against any organising principle. Again deliberately, sometimes going against even this original non-template by tiredly accepting an aesthetic impulse and occasionally giving in to design. A capitulation that is invalidated immediately on the re-assertion, at the next or maybe a later repeated hatching, of the first refusal of beauty. Thus conscious lazy, frustrated drawing (also rationale for Inferno photos). Patterns are repeated to fill a designated page area. A continuous series like intermittent diary entries. Real drawing or recording – occupying time.
(Mirrors scraped of their reflective surfaces to form a mirror ladder, the gaps between the ‘rungs’ round edged to imitate the shape of car number plates) each 2 metres by 30 cms
The light throws the reflection of a ladder onto the ground in front of you, its shadow on the wall behind the ladder itself in which you see both yourself and the world (including, in situ, the cars parked behind you) intermittantly reflected. You are invited to climb not as yourself but as a shadow or at best a reflected image.
– The ladder of perfectibility
STRETCHER 1999 exec 2000
(Wood veneer and bricks –optional)
A ladder made of wood veneer which cocoons the bricks which form the uprights, which therefore can themselves, be removed. The rungs themselves conform to the flattened dimensions of the bricks removed. Unclimbable verticals.
*ET ANNUNCIO (after Godard) 2000
(Circular, bevel-edged mirrors, scraped of their reflective surfaces except for the bevelled area surrounding each one. One of these is resting on a small shelf, leaning against the wall at eye height when kneeling.) 7, each 400 mm circumference
The light throws a halo (for want of a better word) from these empty mirrors onto a surface behind you. And a shadow onto the wall behind it.
– Malevich’s black paintings, specifically when hung as originally in the corners of the room like icons.
also, of course Giotto of the mythically drawn freehand circle.
Four times the keys of a personal computer are randomly depressed until an A4 sheet is filled . The first occasion with no punctuation, only the letters or numbers until the page is full. The second time introducing punctuation. The third time introducing the space bar. The fourth and final time introducing the tab key to start a new line. The four texts are then subjected to the spellcheck facility and where a word is suggested it is accepted. (Note, because of the infrequent and irregular occurrence of the typographical features which may define a word, i.e. punctuation and/or spaces, most sets of letters, although highlighted by the checker, did not have any alternative ‘words’ suggested). Once the texts had been corrected, each suggestion was increased in font size by one point and re-set in bold type.
The first page, remarkably (if it hadn’t happened might I have abandoned the whole project?) hit upon only one set of letters it could give a solution to. These happened to be my initials –K J. I don’t know what these letters might stand for in the computer’s lexicon (kilojoules I suspect), but they suggested the categories into which the subsequent sets of text should be organised– namely
(rectangular mirrors 15 cms by 7 cms inset into gallery walls at height equidistant between floor and ceiling)
A line of mirrors (dotted?) all around interior wall equidistant from floor and ceiling. Reflections – sun / dial / tropic movement.
(Floor/wall tiles; wood)
Wall/floor tiles raised from floor and rising up the wall a similar distance in front.
*BEAUTIFUL CALIFORNIA (a picture book to remember her by) 2000
Relating to the Inferno project, a framing device (from the ladder series) applied to the pages of a colourful coffee-table book. Multiple images on the page, multiple spaces, texts fragmented (how text fragmentation and image fragmentation are qualitatively different), ‘unified’ by an imposed frame, and veiled by an over-printed other space / image (the ladder) which simultaneously neutralises, hides and reveals the given page spaces of the original.
The ‘bland’ and repetitive design and image placement of the original pages being simultaneously revealed and revelled in, to expose the arbitrary life of the partial image. Re-vitalising by means of a new frame, yet re-instating a new blank(et) bland template.
This final template re-states the Inferno template emphasising the ever-present availability of non-meaning.
Over-print text (non-text from different space ) to go further down this path? (the continuing metaphor of the planned journey)
The ladder coming from the roof of the circus tent in Ophuls ‘Lola Montes’ as referent.
Related to above but with overprint of picture captions from catalogue of paintings (for instance Chardin) – stating collection, location, dates, and photo credits.
DISASTERS OF WAR 2000
(Computer generated scribble series)
By means of a fickle (blind) mouse the hatching and shadows of Goya’s Desastres de la Guerra are badly reproduced, only the darkness remaining.
UNIQUE UNKNOWNS 2000
(Computer generated scribble series)
A minute scribble (uncontrollable, invisible) is stretched from its arbitrary position on the page to fill the frame. A signature witness. Also Belshazzar series of indecipherable texts.
(Metal panels, hinges, handles)
FROM NOW ON gen 1997 exec 2000
My binary narrative written in Istanbul in ’97, transcribed verbatim.
Reversed descriptions of either side of the paper, both over-printed on the same side, one backwards. (Meditation on the page – continuing series).
(Doormats inscribed or dyed with slogans etc.)
From and in ironic response to Ian Ha(MILTON) Finlay.
(Two mirrors or possibly just close-up pastoral images on two sheets of glass – not stripped but applied this time with the text removed from one and added to the other.)
The text which comes from ‘Paradise Lost’ Book IX, is the passage from a speech by Adam arguing that he and Eve should not separate in order to reduce their labours as together, within sight of each other they are stronger against the enemy. This text which itself comprises a syntactic opposition, divided between looking and being looked at, is itself divided between the two mirrors. (If images used instead of mirror, then image to relate to Green Park quotidian inferno piece.)
(The word ‘invisible’ spelt out in Braille on a mirror – dots of clear glass and/or dots of mirror reversed)
(Also the word ‘SIGHT’ ditto?).
(Panoramic pin-hole camera)
The photo paper itself functions as wall to the camera, the pinholes piercing it at regular intervals to project the image onto the emulsion opposite. Continuing meditation on the function of the page and positioning of ‘self.’
(Photo and manipulated photo diptych)
One photo, in its virgin state, of the table at the last supper in a version of Poussin’s painting but from the p.o.v. of Christ. The other photo a composite from the perspective of the painting, manipulated as Poussin would have, approximating to the original but with the empty barn through the open door where Christ would be.
THE INDIVISIBLE 2000
As a riposte to the preposterously limited Martin Creed, whose lame whimsy insults even his own middlebrow, coffee-table conceptualist (with C. Parker) intelligence. A piece of blu-tak (alternative antecedent procedure – this blu-tak is used to remove the sky/background from a newspaper photo) is repeatedly cut in half with scissors until the project becomes hard to realise, (i.e. – Impossible to accurately continue) the final two pieces therefore being the same size as each other, mirroring the starting point, which has after all been consumed in the process. After Zeno.
THIS AND ONLY THIS 2000
Another riposte to Creed, but most of all a tribute to Gonzales-Torres. A stack of acetate sheets, completely blank, which can be removed by the public but which are only of their intrinsic value as sheets of acetate. The act of removing them is not only an act of complicity in the destruction of the piece (in fact it is stealing, not a gift). But an absolute equality of the piece and what it exactly is – nothing else. Put more clearly – as its value is precisely its value as a sheet of acetate – nothing distinguishes it from any other – the art only exists in multiple, but you can precisely duplicate it – its cost should be merely that – the cost of the piece. No specifications.
*BOSPHORUS II (EQUATOR/IMPEDIMENT)
STRAITS gen. 1999 exec 2000
(Wood, white emulsion)
Bosphorous, Dardanelles, St Lawrence, Gibraltar etc. Waist-height box-like structures built from opposite walls of a passage and where the passage is wide enough, more of these structures divide the space, equally distanced.
– tube barriers under construction.
At the exact centre of the gallery a row of ‘turnstile’ mock-ups (pre-placements) cross from one wall to the other, impeding flow of people in one direction and marking a meridian line in the other.
At each end of the line the name of the piece is attached to the wall. But the piece has a different name at each end – ‘Equator’ and ‘Impediment’
Manzoni – ‘Socle du Monde’
GRACE Real new piece of great grace 2001
OTHER THOUGHT – TO HAVE THE BLOCK OF ACETATES ON AN OVERHEAD PROJECTOR, PRECISELY PROJECTING NOTHING. NOTHING MULTIPLIED AND DARKENED – IN TAKING THE ACETATE YOU REVEAL THE LIGHT. (and the title of the piece – an allegory – the word GRACE printed on the wall or on the final acetate projecting clearly at last.)
OFF SCREEN (‘Got to get you into my life’) LOCATION 1 – KING’S ARMS POLAND ST. 2001
(Video – 20 mins)
The filmed reflections on a pub (gay bar) TV screen. The reflections of place and people (in shadow) on the screen of a switched off TV. Metaphors of place/displacement and display.
One of six or seven to be made into a multiple site work, or a TV tower, each TV being displayed at the correct height. This first one is the top – Christmas decorations in gay bar.
The particular and constant evanescence of the piece. In effect it is the pov from the TV screen. The pure surface – no resolution of depth (being inside the space of the TV or actually outside in the space of the reflection). The resolution between theory and practice which occurs, even in a film which only uses an unmoving pov and no editing. Even though it is only a straight recording, the same development occurs, whereby the shooting resolves itself, relaxes after a few minutes, (around fifteen), and the film is qualitatively transformed, more purely realised. How can this be – nothing is rehearsed. But truly after all the camera becomes more and more invisible, like a strange dog becomes slowly integrated to the pack and a truly objective vision is revealed. (How truth is the only justification for artifice)
PROJECT FOR ITALY 2001
The words VATAN, (HEIMAT?), PATRIA and Greek for same (HELLAS – the name for the football team Verona also), on adjacent hillsides (photo digitised) spelt out on wooded slopes. Hollywood extension, re-locating empires in same ’logos’ and ‘locus’.
(Photos (panoramic) abutted at random.)
*IN ABSENTIA (a parable of painting, after van der Weyden’s St Luke) 2001
(Paint, canvas, light fittings)
On a carefully painted/primed/sanded white canvas a shadow of an ornate frame (of the sort Chardin etc would be framed with) is painted equally carefully in grey at the top edge. Above the painting is fixed a bronze/brass museum light shining down onto the actually frameless canvas.
Alternatively, or perhaps instead, the shadow will be made out of gold leaf applied to the canvas, reflecting light, like the frame itself would.
Baroque (mirror) cornice
Mirror ceiling/corner/tilted ribbon-like outline of cornice/frame suspended at angle from corner.
After Tiepolo – the reflections being the fresco/narrative characters and the line the architectural context.
Nobody’s Perfect (rocking the boat) after Giotto
Repeated arcs, (or rather, unevenly realised parabolae) reversing repeatedly all from one line until page is filled. At certain points the chain of reversal is itself reversed – in a mathematically exact programme it would be when the curve hit another at exactly 90 degrees – but in my scheme, roughly every fifth stroke (like waves).
Leading to Ductus Series
DUCTUS – (instructions for drawing) 2001
With one line draw a curve (not an arc) which narrowing slightly turns in on itself. Before it bisects the original line, change direction, drawing another curve, equally deliberately following its own trajectory – trying at all times to keep the curve even, or rather true to its varying temper i.e. if you feel it widening let it do so evenly if the reverse likewise. Be continually conscious of where you are and where you are going. Again, before this new curve bisects any previous line, reverse the direction once more. Continue in this wise until the curve approaches a previous line at right angles in which case the next curve is in the opposite direction. Repeat this procedure. This being a drawing the aim is to fill the page. Thus you will find the curves narrowing or widening according to a vague awareness of the suitability of a certain direction above another. This way there will be a fluctuation between your leading the pen and the pen leading you. Carry on until you are tired or frustrated or bored, and then maybe carry on some more.
This is an action that is effected only by continuous adjustment, continuous awareness of controlling or following the line and/or the page itself.
Explore possibility of Ductus Series being computer generated (random responses programmed within limited parameters)
BLIND MOUSE DRAWINGS (K. MARTIN SUITE)
Repeated furious hatching on mouse, the line drawing facility used. Each line clicked upon to register it equally furiously. So fast that the lines cannot be assimilated by the computer quick enough and so the return strokes of the hatching and the between movements are sometimes recorded instead. In a running (?) fugue. Thus the underlying pattern/signature of the computer is established as in a brass rubbing when the image appears out of nothing.
Via Kenneth Martin, these lines are organised to fill, or removed from a given area, defining it from within or without.
VIDEO REAL (REELING)
A video recording of video tape caught in a cherry tree (e.g. prunus avium) close up, unmoving frame, the wind rippling the tape, catching the light.
‘AND WHO HATH BELIEVED OUR REPORT’ prose sculpture 2001
A reminiscence of a journey from Prague to Dresden in Winter, mapping in a small way any journey through any Inferno toward Purgatory and Paradise.
‘FRAGMENT – NO SUGGESTIONS’
Continuing computer/brain mapping of ‘understanding’. Fingerprint/signature. A given text subjected to a spellchecker, the queried (academic) words replaced by their suggested alternatives, including of course ‘Fragment – no suggestions’.
Also, replacement identities, delineating parochial unfamiliarity – subjecting ‘foreign’ names to spellcheck – specifically a Braziers piece for Applicants.
ENGAGEMENT – (AFTER RODIN’S BALZAC)
Disposable cameras with film (exposed).
Disposable cameras, each containing un-developed pictures of, for instance unknown people, piled or stacked or whatever. The pictures to be developed after my death. A projected Boltanski.
THREE BLIND MOUSE DRAWINGS 2001
(Inkjet print on paper)
A set of drawings (of mice) made by blindly using the computer mouse
Part of an on-going enquiry into ‘blindness’
ASS DRAWINGS (for Heimito von Doderer) 2001
Pencil on paper
A suite (potentially unlimited) of drawings made by writhing around on the floor with a pencil stuck up my ass (no, really – well not exactly, but in effect). Blindness again.
*ACT ONE SCENE TWO 2001
Mirrors and steps
Circular stone steps with the risers replaced by mirrors. The steps float and bi-location is achieved.
*ELIAZER AT THE WELL (FRAGMENT) 2001
Video monitor, surveillance camera, broken pots, gold leaf
LE CORPS EXQUIS 2001
Four monitors stacked vertically, four surveillance cameras attached recording disparate locations at identical respective heights to the monitors.
VENICE FILMS 2002
*ADORATION 12 X 24 SECONDS
In front of the painting by Veronese we wait for illumination and count the seconds until darkness falls again.
ADORATION BY PROXY
PALAZZO DEL CINEMA
LE BUFFE DEI CHIOZZOTTE (see running time)
THE TRIUMPH OF VENICE (after Veronese)
The camera at evening attempts to make sense of the light levels refracted through a dirty window on a vaporetto travelling across the lagoon from the airport to Venice. The wooden piles marking time as during the journey, the fading light causes the lens to focus (on its own temporal journey) subsequently on the glass, the lights outside and finally as the dark becomes almost total, on the reflection of lights inside the boat.
VENICE IN FURS (ON DAMAGE)
VENICE PHOTO SUITE
SUPPER IN THE HOUSE OF LEVI (AFTER VERONESE)
MEXICO PROJECTS 2001
DEFENDER I (REDEEMER?) 2001
Crashed and mangled car bumpers re-made in porcelain/china
DEFENDER II (NOLI ME TANGERE) 2001
The barriers between urinal stalls reinstated in a gallery along a wall without the urinals.
ALL YOU LOVE IS NEED 2001
Et Annuncio done large (man-size) to reproduce only the circle that Vitruvian man spans.
Three placed in a circle supporting each other.
*ALL YOU LOVE IS NEED 2001
Printed T-shirts (made in the country of distribution?)
The slogan ALL YOU LOVE IS NEED printed on T-shirts of various sizes, given free to the poorest children/people who stereotypically sell photos of themselves (with the ubiquitous iguana in Mexico) to American/European tourists at the road side. The distribution of these shirts themselves and the subsequent photographs around the world – amongst the poor and the rich respectively.
Film and numerous TV monitors
Single shots taken from a generic/anonymous film, looped and playing on separate monitors so that the whole film (or rather random excerpts) can be seen simultaneously. An exercise in ontology and inediting. (See (B)ROAD MOVIE – ANGIE AUF NAXOS)
VERTICAL (Travelling) 2002
Film and numerous TV monitors
A film shot with the camera on its side (from a train window for instance) shown (in parts) on a sequence of TV monitors which have been turned on their sides to restore the horizontality of the original ‘travelling’.
A series of full-frame photographs of plants/trees not generally considered hardy in this climate.
Further developing notion of location. (After Atget)
Film x 2, Monitor x 2
Continuous film of a border crossing, say that of U.S. and Mexico, reversed at the point at which the border is crossed, so that there are two starting points (at either end) and one end i.e. in the middle of the film. A film which nevertheless has no strict point of editing, except temporally. Tectonic time plates.
SEE THROUGH 2002
TV monitor, surveillance camera
A surveillance camera is attached to the back of a TV monitor. We see through the screen to what is behind it. (The actual workings of the TV are therefore made invisible, are only in operation in order to make themselves disappear.) A continuation of the Framing/invisibility discourse.
TOUR D’HERRISSON 2002
A camera on it’s side revolving (‘un tour d’horizon’) at ground level (hedgehog-level) filming e.g. the Hellebores in the Magdalen College Botanical gardens, Oxford. The direction of the spooling film in the camera identical to the direction of the filming/panning. (see ‘VERTICAL (Travelling)’)
RUNNING TIME 2002
Filmed repeatedly, in fading light (at the point of the light fading in different locations?) with limited battery life and for the length of time the battery will allow. (Therefore a shorter and shorter amount of time). Possibly the repeated recital of Kafka’s diary entry ‘For a long time – (ha that’s Proust – maybe so) ‘Often when I think about it…’ etc. Work it out.
‘Longtemps je me suis couche tard’
(see Vertical Travelling and Tour d’Horizon)
The space of the gallery filmed as in Tour d’Herrisson, at ground level the camera on its side, rotating in a circle. The film shown on a circle of monitors (of different sizes) placed on their sides facing inwards. The gallery space therefore rotates as we circle within it.
Two video monitors, film/text
Text from Paradise Lost (concerning Eve’s desire for separation) split between the two screens.
LOST HORIZON 2002
On the floor of the gallery a circle of at least five – hopefully seven or more – TV monitors (of any sizes, different shapes/makes). They are evenly spaced but placed on their sides i.e. the screens form the rim of a horizontal wheel, (a cosmological inference), with gaps according to the space available so that it is possible to enter the circle. Before the show is open, before the TV’s themselves are installed, (though not necessarily before the rest of the show is hung), a film is made of the space at floor level by a slowly rotating camera, (which is itself placed on its side). Therefore the film of the space is relayed on the monitors in a circle identical in orientation to the turning of the film within the camera and at the speed of the camera which filmed it. The movement of the film, spooling its circle to infinity, while simultaneously running out of time (and tape), addresses ideas of cinematic continuity. The physical gaps between the monitors are bridged in a manner analogous to the process of film-frame elision that characterises human optical perception. (The fact that video only exists in discreet frames adds a perverse technological revisionism to the process)
The subject of the film is therefore the film itself and the literal space and time it takes filming/viewing it. I won’t go on about the position of the viewer – inside or outside the circle, behind or before the camera, as we all are made invisible, obscured by film. Another time another space. In terms of cinema theory we are extra-diegetic. (superfluous?)
Series of photos of trees etc. severely pruned, branches stopping at frame of photo.
AMERICA series 2002
Text of all I saw but didn’t film.
INNOCENT IMAGES 2002
Detroit Airport waiting room – the innocent image being the phallic protuberance of the airport extendable walkway that leads to the plane. On the TV overheard speech of senator regarding paedophile crisis (‘ priests, teachers, mechanics, politicians, people from all walks of life…….) and talking about ‘Innocent Images‘ campaign.
The journey in a taxi from Blake’s to the centre of Manhattan through the back of the taxi window. (Back projection). Blake’s wonderful monologue.
NEW JERSEY 2002
Ruisdael at Newark airport.
Panels opening from departure board Penn station N.Y.
VERAE CRUCIS 2002
Videotape caught in the branches of a cherry tree, caught on film, blowing in the wind, unspooling in the camera. Reeling on TV.
(Three TV’s, three surveillance cameras, scaffolding)
The height of the crucifiction (sic?)(on site) relayed in three parts onto the TV. Behind and between, another function of editing.
T-SHIRT SLOGANS 2002 and before
– ALL YOU LOVE IS NEED
CURRICULUM VITAE 2002
*REGAL (PANTHEON) 2002
*(B)ROAD MOVIE – ANGIE AUF NAXOS (THE SINS OF GORDON DOUGLAS) 2002
T.V Monitors, Broadcast Film ‘Ruth Cabe’)
See IN/EDIT above
*OFF/SCREEN DOUBLE (the Bar at the King’s Arms, Poland St.) 2002
(Two TV monitors, two videos, 1hr)
LATE NIGHT SATELLITE 2002
(Video, 30 mins)
(Video, 45 mins)
FAUSTIAN PACT 2003
DEUS EX 2003
(Sticky-backed mirror rolls)
HOLLYWOODLAND (version originale) 2003
(Plywood, white emulsion)
HOL(LYWOODLAND) Edited (close-up) 2003
(Plywood, white emulsion)
TITLE SEQUENCE (About time) 2003
BLIND BEAUTY (ANTI-PLATO) 2003
MISSING (Zurich) 2003
MISSING (private collection) 2003
BOUQUET (Clare and Sandi’s Wedding) 2003
BACK PROJECTION 2003
IN-CAR ENTERTAINMENT (?) 2003
(mirror/window screen installation)