Whetstone (More coming soon)
An installation of digital and photographic works located around a collection of photographs made by the industrial photographer Walter Nurnberg. Commissioned by Grundy Gallery for the exhibition Remote Work - 27th March - 19th June 2021. Public viewing from 18th May.
A Fallen Line of Marble Drums.
The project proposes speculative relations between an ancient column at the temple of Zeus (Athens) blown over in a hurricane in 1852 and the tragic Attica wildfires of July 2018, which started with a small fire on Mount Pentili (the source of the columns’ marble). The date of the columns destruction was contemporaneous with the beginning of meteorological recording to predict the behaviour of the weather.
Photographic and digital modelling technologies use these distinct events and the impossibility of their documentation to propose new futures through a framework of fictioning, interweaving personal narratives. and overlooked histories.
Image, object and screen-based works are produced as an exploration of the increase in frequency and the mediatisation of extreme weather events brought about through the global climate crisis.
Screen for Another Focus
A moving image and photographic installaion made at the Dovecot Tapestry Studio in Edinburgh.
Photographs from the Dovecot’s archive, framed to reveal the weaver’s repeated actions as a mode of ‘choreography’, informed approaches to filming through an artist residency at the studio. Working in the space, interviews with weavers and interim screenings unfolded the tacit knowledges embedded within tapestry making, guiding the film-making process.
The piece closely follows the intimacy of human touch, where every inch of wool passes the weaver’s hands. The film conceptually identifies the body as an extension of the tools that permeate weaving historically, and as technology itself.
Installation as three inter-related projections on suspended screens not only immerses the viewer in the focused, attentive space of the weaver, but creates new material relations between analogue and digital surfaces. The physical ‘screen’ of the tapestry is mapped into the virtual projected screen and can be viewed from both sides, this encourages the viewer not just to view but to move around and situate their own body within the installation.
An installation of digital and photographic works located around a collection of photographs made by the industrial photographer Walter Nurnberg. Commissioned by Grundy Gallery for the exhibition Remote Work - 27th March - 19th June 2021. Public viewing from 18th May.
A Fallen Line of Marble Drums.
The project proposes speculative relations between an ancient column at the temple of Zeus (Athens) blown over in a hurricane in 1852 and the tragic Attica wildfires of July 2018, which started with a small fire on Mount Pentili (the source of the columns’ marble). The date of the columns destruction was contemporaneous with the beginning of meteorological recording to predict the behaviour of the weather.
Photographic and digital modelling technologies use these distinct events and the impossibility of their documentation to propose new futures through a framework of fictioning, interweaving personal narratives. and overlooked histories.
Image, object and screen-based works are produced as an exploration of the increase in frequency and the mediatisation of extreme weather events brought about through the global climate crisis.
Screen for Another Focus
A moving image and photographic installaion made at the Dovecot Tapestry Studio in Edinburgh.
Photographs from the Dovecot’s archive, framed to reveal the weaver’s repeated actions as a mode of ‘choreography’, informed approaches to filming through an artist residency at the studio. Working in the space, interviews with weavers and interim screenings unfolded the tacit knowledges embedded within tapestry making, guiding the film-making process.
The piece closely follows the intimacy of human touch, where every inch of wool passes the weaver’s hands. The film conceptually identifies the body as an extension of the tools that permeate weaving historically, and as technology itself.
Installation as three inter-related projections on suspended screens not only immerses the viewer in the focused, attentive space of the weaver, but creates new material relations between analogue and digital surfaces. The physical ‘screen’ of the tapestry is mapped into the virtual projected screen and can be viewed from both sides, this encourages the viewer not just to view but to move around and situate their own body within the installation.