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#39 – this is exactly how long it took to think this up

Originally 250 photocopies this is a work in progress. If you would like a photocopy please email me with your name and address.

#38 –sound / projection

A sample of a digital sound effect created for video editing software, recorded on a digital video camera, made into a video, the soundtrack separated and put through audio software to record it and play an infinite loop of the sound of a film projector – no film. Not often heard nowadays but instantly evoking film, creating the solid presence of a projector, not there and never showing a film. A ridiculous process to extract a pointless sound.

#37 – if only you’d got here earlier (part I & II)

Part I and II of an ongoing, infinite series of works that replay / replace the space in situ. Mediation of the space or an element of it separates the space by one degree. The work returns part of the space to its origin, re-contextualising the place of the viewer and then adding the layer of a time gone, which is not so different to the time now. Nothing is ever the same twice.

#36 –FFL 5s 25m 22m

This is something and nothing - the title identifies the object in the image in a way that makes no sense in its dislocation. The image reduces the object to nothing, as the actual object has a specific use recreated, in the space of display but of no use. Video works, when off, no longer exist but something remains. Here that something is an instant residual negative image on the screen and on the retina, in the longer term it is the memory of the image in your present day existence becoming filling in the narrative gaps.

#34 – if only you’d got here earlier (part I & II)

See preceding work #37 for a description.

#31 - and

This work is part of an ongoing exploration of the idea of something and nothing, can something be nothing and can nothing be something? Is there a point to something if there is no-one to make use of it. What does making use of something consist of? Who can say whether the point is made or if there is a point in the point being made. The work reverts back to the sense of something that is time. The work is temporal and so must be of time but does that make something, something. Does it make anything other than time real?

#30 -  Ceci est cela

Moving on from the idea of time being created by the viewer, the person within whom time exists through our own sense of the world I have become interested in the idea of something and nothing and reconstructing realities which are not possible in reality but are realities because they are there on the screen. But what are is their reality, is it what the viewer imagines them to be or is it what they are? installation images...

#26 - all the wars we have ever fought, ever

I woke up one morning with the phrase 'all the wars we have ever fought, ever' in my head. I turned it over, had a look at it, underneath it, all around it and thought that it was not something that I could possibly begin to address. So I began to think about how it might have got there from the work that I was doing and what it actually meant as a phrase, in terms of the words, the attitude, the phrasing and the scale of it. more...

#24 - I’d rather be anywhere else than here right now 

The work is based on a submarine sonar which has been altered so the timing between pings extends and contracts over the length of the cycle. It never occurs when it is expected upsetting the rhythmic, cyclical anticipation that naturally occurs on hearing a sonar ping. The piece is about the spaces between the pings that the viewer fills in. In a submarine, the sonar is the language of the blind, the submariner may or may not want to hear the return of the ping depending on whether they are the hunter or hunted. The work has no physical presence it sits in the background as a useless guide for the viewer. It provides no topography of space as it should do in a submarine and so reflects back on the viewer’s anticipation of the next sound.

#20

Movement generates narrative; narrative generates time; time generates structure. The time stops and slides to the next screen and restarts, making the viewer move along the screens, moving over the movement, involuntarily. Eyes moving as if on a train leaving a station. Being made to move against your own will makes us aware of ourselves as we follow the narrative of the work.

#18

The train never leaves and never arrives. Frogs, when they are watching for prey blank out the areas where nothing changes. They only notice movement, so the viewer focuses on the rain, wondering when it will ever stop moving, or leave, or arrive. When a train comes in or goes out it is the market of an event, the beginning or end of a journey. This journey has neither a beginning nor an end; just anticipation.

#15

A lightning flash is a moment akin to a photograph but this is video. With the nine screens each version is a quarter of a second slower than the version before, lowering the sound of the thunder by approximately a semi-tone. The sound begins like a peal of bells, except this would take 384 million years to ring the changes. It appears to be random, but by knowing the process the randomness disappears, as is the case with artistic intention where there is no randomness. Each apparent act of randomness is preceded by a decision.

The duration of the piece seems perhaps, to make it longer than infinity as it is an actual amount of time but it cannot possibly be imagined, and questions the idea of time as real.