Stereo audio with HD video, 2 minutes 19 seconds
The voice incessantly revises the lyric ‘and if you don’t then that is that’ against a metronome and a centipede navigating its way through rotting leaves. In music notation ‘volta brackets’ signpost a first, a second, or several endings.
Stereo audio, 7 minutes 48 seconds
Installation image from A Slip of Certain Measure’ exhibition 9-13 Oct 2020, featuring stereo audio ‘Dog hairs‘ and sculptural works ‘Found on an island lost in Antarctic seas‘ by Dominique Rivard
The voice recounts a series of interconnected vignettes of conversations, thoughts and encounters. These segments are formed out of forgotten objects, bits of debris, receptacles and cavities, and draw on the embodied experiences of the narrator – a sideways glance, an object reached for at a stretch, the gravitational pull as they run down a slope. The pace of the voice drags and tightens against various percussive and instrumental rhythms, and occasionally snags on a phrase in the flow of speech.
Broadcasts include: Radiophrenia Glasgow (14 Nov 2020), Market Gallery Glasgow Radio Series ‘Vibration Lets me know you are there’ Episode 3 (27 Dec 2020)
In her left hand, she clutched a pair of gloves
‘In her left hand, she clutched a pair of gloves’ toys with the orientation and dispersion of selfhood. The audio and the visual buckle into two movements; the unfolding scene depicted through the voice, and the curbed disclosure of the visual environment. The voice recounts a banal scene in which one woman is walking up a hill and another woman is walking down the hill. The aural narrative accumulates through repetition, revision, and the dragging and tightening of pace, as one women drops her personal effects, the other sheaths her hand in a glove. The slow-motion footage draws a vertiginous scene into focus.
HD video with stereo audio, rear projection screen, two pairs of headphones, table and two floor cushions. 16:9, 10 minutes 10 seconds
Produced for the 5-year anniversary of the London/Tokyo Y-AIR Exchange Programme
Combining still and moving images of Tokyo and Glasgow, ‘The storehouse’ weaves together personal anecdotes and observations about urban landscape and landmarks that come out of, or are particular to, the geography of these two cities. The work draws on particularity, negation and approximation, through nonlinear recollections and details of urban parks, shrines, cemeteries, igneous rocks, and the blooming pink Azalea flower.
8-channel HD video, 8x 24″ monitors, 8x Raspberry Pis, I-beam clamp, steel wire, octagonal frame. Silent, 7 minutes 2 seconds
The camera circles a stone basin with a cast bronze fountain of tritons and dryads at its centre. In slow motion, people congregate and perform around this exclamation point in the park. This footage is repeated and looped around an octagon of monitors, with a short delay between each.
The fountain’s design follows a pattern of enclosure and shrine common to ecclesiastical structures. ‘Monument‘ reflects on political forces residing in and moulding bodies, public space, and built materialities.
Against a backdrop of a pop-up dolls house book and tiny planetary marbles on an incomplete solitaire board, the sparse voiceover ruminates over a recalled conversation, and the phrase “come full circle”. A hand spins the tiny set of the dolls house, whilst the voice contemplates the notion of a full circle in relation to the passing of time: the setting sun, childhood, life, death and rebirth.
The audio is triggered by a listener putting the headphones on. Using recorded narration, ‘Birds’ uses the moving time of speech and deixis to confound the speaker and listener positions in the work. The voice observes two birds looking down a hole in a tree. This image is re-thought through point of view, synonyms, association and tense; whilst shifting the language around what it attempts to describe, the voice continues to affirm; “this is absolutely what we’re talking about“.
The image of a scaled silver birch model is cast by the lens of an analogue projector. The static image of the tree is present for 30 seconds and then disappears for 30 seconds on continual loop.
A bright glaring LED light and a voiceover are triggered by the proximity of a listener. The recorded voice deliberates over a purple light shining on the underside of a tree’s branches. The voice considers the invasive quality of constant illumination and distraction with suspicion.