Orchestra of Rocks: Not A Rock Concert

in collaboration with Atau Tanaka and invited sound artists and DJ’s Dane Law, Nathalia, name, Shelley Parker, Tom Richards

As part of the Art Night Associate Programme in collaboration with Whitechapel Art Gallery, St Olaves Church was transformed into an immersive environment of sculptural installation and sound. Free standing, simulated “rock-speakers” each radiated the live mixes based on recordings of individual raindrops captured with experimental recording techniques. Live improvisations by the on site sound artists created trancelike, rhythmic and ritualistic soundscapes hovering between abstraction and dance track. The work took its cue from the previous video installation Playing the Cave – a playful evocation of ancient rituals, myth and man’s desire, often futile, to gain control over nature.

for performances click here

 

Picturing Paradise (’03-’05)

Picturing Paradise looked at places where individuals have created notions ‘paradise’ for themselves – these bubbles of existence we create away from the reality of the everyday. It asked if there is a common denominator to what we call ‘ideal place’. Are there pictorial conventions and traditions, which shape our understanding of the paradisiacal? Are these attempts at perfection by definition doomed to failure? The work sought to establish parallels between the construction of images and idealised spaces.

 

Sheets GoldsteinPalm SpringsHuntington GardensSheets GoldsteinHanburyLe DomaineperspectiveWaterfieldVilla OrionHuntingtonSelf RealisationToro Canyonle DomaineToro CanyonMuralHuntington

Picturing Paradise looked at places where individuals have created notions ‘paradise’ for themselves – these bubbles of existence we create away from the reality of the everyday. It asked if there is a common denominator to what we call ‘ideal place’. Are there pictorial conventions and traditions, which shape our understanding of the paradisiacal? Are these attempts at perfection by definition doomed to failure? The work sought to establish parallels between the construction of images and idealised spaces.

 

Never Hatched (2015)

These are photographs of the never-hatched eggs of the last golden eagle in England. The eggs, held in the collections of Tullie House, bear testimony to his failed attempts to procreate. Since having lost his mate, the bird continues to build nests of ever increasing size and to perform the eagle’s sky dance in attempts to attract a new mate. Magnified on a scale of 1 to 300 the eggs begin to resemble planets, each bearing distinct characteristics different from the others.

 

Waiting for Los Angeles (’14-’15)

waiting-for-los-angeles-small-install-2click here to view video

The video work ‘Waiting for Los Angeles’ draws a portrait of Los Angeles through the eyes of one of its few truly democratic public spaces, Griffith’s Park. Griffith’s Park was donated to the City of Los Angeles under the provisor that it would remain open to the public and not exploited for financial profit. With its prime location in the middle of this massive urban sprawl, to this day the park attracts people from all walks of life. By position a camera and waiting for the people to pass the city passes by you revealing itself through the lens of the glances on snippets of people’s lives.

Shot over a two year period and edited down from roughly 300 hours of footage to 1 hour and 12 minutes, the work describes this quintessentially post modern-city that is so resistant to interpretation through a consistent single frame. The users of the park enter the frame like a stage becoming participants in this 20th Century Waiting for Godot where all the little nothings describe a bigger narrative.

On Freedom I: Off Road Video

video1

 

CENTRAL PROJECTION; click here to view video

SLIDE SHOW WITH INTERVIEWS: Slide Show with Interviews

Off Road looks at the implementation of the notion freedom in the United States and how it is manifested in a unique relationship to landscape. The multi-channel video installation explores freedom as a construct that is instrumental in sustaining the political system that houses it. Central to this is a probing of the boundaries between documentary and fictional filmic and photographic languages.

Off Road was shot in a beautiful landscape of Sahara like sand dunes which is also a state vehicular recreation area bordering on a nature reserve. On a weekday the location is fairly empty. Over  week end thousands of users arrive in their RV’s, SUV’s and self built motor vehicles. The main focus is driving these vehicles in the deep sand of the the dunes.

On the one hand The Sate Vehicular Recreation Area plays a significant role in creating a sense of community, a temporary city that joins people from distant backgrounds through their shared interest. Many of its users claim that it cuts through class and social boundaries. Juxtaposed to this is the problematic issue of the contested ecological impact of the activity that results in a constant threat of closure. Below the surface of the event rests the underlying paradox between the amount of energy and resources invested and this seemingly futile activity

Alongside this the location encapsulates a remainder of a pioneer spirit; a sense of entitlement and claim to land that has defined and shaped this region of the world. Except now there is no more new land left to claim. Here we are already at the edge of the Pacific Ocean. There is nowhere left to go but elsewhere to claim new land.

click here to view video

Slide Show with Interviews