‘Construction Lines’ is a short animated film about the interior of an ‘iceberg’ home (a home where the sub-ground levels are larger than the house above). The iceberg home in question was not developed due to hundreds of objections from surrounding neighbours in Knightsbridge, West London. Max Colson’s portfolio →
This moving image project is a result of my interest in the uncanny of new technology and augmented realities. It explores the concept of Freud’s unheilmeich (unhomely) which deals with the notion of ‘the double’, the strangely familiar and the familiarly strange. Set in an outdoor location with brightly painted doors resembling a computer’s ‘windows’ or tabs, this video reflects our eerie relationship with technology which is one of boredom, humour and isolation. Ankita Anand’s portfolio →
A work about the material, historical and social histories of tissues. Anita Delaney’s portfolio →
Ruth Waters’ practice explores the ways late capitalist networked society impacts our levels of anxiety. Ruth Waters’s portfolio →
“Set in a no-space land, the toad, a mythological creature of endless age, is a post-gender proxy inhabiting the present in a digital sphere which resembles itself endlessly. The narrative opens up a culmination of parallel events and issues like the techno-humans wish to extend life and ‘the animal’ in nature. Sofia Albina Novikoff Unger’s portfolio →
A panoply of visual forms and likenesses inspired artist Tom Lock to make ‘Underwater Empire’. These include nineteenth century scientific drawings of sea creatures by Ernst Haeckle, the repetitive visual rhythms of Islamic geometry and the tessellated patterns of ceramic tiles often seen decorating the streets and houses around Southern Europe. Tom Lock’s portfolio →
The video displays a performance by the artist attempting to do the Indian Head Nod, which is used heavily in South Asia for yes, no or maybe as well as in Indian dance. Members from one part of the artist’s family use the movement, but she is unable to imitate it. She cannot do the movement properly and the piece is about the struggle of trying to fit in, to adapt to someone else’s behaviour and the frustration of learning how. The piece comments on the failure of language, including body language. Nina Mangalanayagam’s portfolio →
Ralph Pritchard’s work explores the desires, fears and needs that are present in an encounter between two or more people. He is interested in how politics interfaces with the human condition. Ralph Pritchard’s portfolio →
Hazel Brill’s theatrically staged videos are described as ‘creating ‘shows’ that feature multiple protagonists, both human and non-human, who enact a plurality of narratives’. Hazel Brill’s portfolio →
A cartoon-esque, nightmare-vision of how prosuming consumes, ‘A Sculpture of Your Grief’ has been described as a “sideswipe at the rictus grin that hides the pain of living life on the revolving circus of the internet”. Aimée Neat’s portfolio →
YouTube videos show how to spot fake Supreme branding. Supreme enthusiasts talk about the notion of a ‘good fake’ and the difference between a manufacturing fault and a replica. Maud Craigies portfolio →
The video depict close up images of ants walking on sculptural ruins, namely on the face, neck and shoulders of these. The video was made after discovering that there is a giant ant colony underneath the Acropolis. I observed their patterns, how they appeared and dissapeared into the ground. Eventually I lured them to walk on the sculptural ruins. Elisabeth Molin’s portfolio →
‘Epona’s Well’ is a body of found fragments of artefacts and organic remains spanning centuries and diverse species (some already, some soon extinct); fractured gadgets from the early days of technological acceleration juxtaposed with fossils; a hex; and other elements. The objects have been harvested from the shores of the river Thames, extracted form an abundant and cryptic archive of discarded remnants, sculpted or disfigured by the current. Karen Kramer’s portfolio →
Sam Mercer is an artist and researcher living and working in London. He works primarily with moving image and with artist group Common Study at Somerset House Studios.⠀Sam Mercer’s portfolio →
A single-screen version of a four-channel video installation, with Biofeedback equipment (Bitalino board, Galvanic Skin Response, Electrocardiogram [ECG]). As part of Anxiety Disorder and PTSD and the medication they are currently on, the artist has to undergo regular health checks including ECG. The order in which the video clips play is controlled by the anxiety levels in the artist’s body, measured in biofeedback data. The numerical presentation of bodily indicators of Anxiety is in contrast to the content of the footage, which contains close-ups of embodied expressions of anxiety through facial expressions, body language and abstracted sounds. This is a recording of the live data of the anxiety levels of the artist when worn during the private view of an exhibition opening. Sophie Hoyle’s portfolio →
Meticulously and with a certain detachment my mother and her partner have prepared their own resting place, and since my mother has started forgetting, I am trying to grasp hold of the broken pieces that have come from her to me; the trauma that passed between us. An unwelcome inheritance. Susanne Dietz’s portfolio →
Pamela Breda’s artistic practice explores image archives from an anthropological point of view, stressing the links between pictures’ narrative potential and their contexts of receptions. Pamela Breda’s portfolio →
Rosa Doornenbal’s practice is shaped by an interest in the way objects of care and support can shape, control and disrupt subjectivity and gender norms. From a feminist perspective she tries to understand and subvert ways of objectification. Rosa Doornenbal’s portfolio →
“Mother of Monsters” peers into an infinite void of darkness. Quivering eyes observe from this glossy black space just as they do when you swirl down a continual stream of data and selfies—between the unknown territories of islands glowing eerily in the dark. Almost as Marlow traveling up the Congo River deeper and deeper into the heart of darkness itself, spied on from the impenetrable jungle behind thick fog, surrounded by the trembling of distant foreign noises, eerie, alluring and evocative. Anne Haaning’s portfolio →
This video features a series of conversations between the artist and US patent agencies. The artist presents them with a speculative product, and they discuss its potential in the consumer market. The product in question is a ball of intelligent clay. It is designed to materialise the consumer’s subliminal urges, continually rearranging its mass to meet their unconscious desires. To some extent, this is a ludicrous proposition. But as affective computing opens up hidden territories of the consumer psyche to capital accumulation, the film explores how capitalism’s machinic imaginary might be re-engineered to bring about its own orgasmic conclusion. The title is an industry term that refers to the initial phase of new product development.
What would a world devoid of physical laws, such as gravity and frames of references, such as geometry and time be like? Sitting outside of time would enable us to witness past, present and future all at once at the same moment and location. This film develops an empirical and existential conversation with the viewer. Chooc Ly Tan’s portfolio →
In ‘Lascia Ch’io Pianga’, an aria historically designed to be performed by a male Castrati singer rather than a female soprano is re-appropriated and performed by the artist. The costume based on intra-cultural signifiers have a personal resonance to the artist and call upon art deco designs as a movement that previously hybridized inter-cultural motifs as decadent and exotic, rather than acknowledging how these may be truthfully inhabited by a subject as intra-cultural experiences. Alia Pathan’s portfolio →
My work is referring to the Greek mythological figure Medusa and her relation to Donna Haraway’s contemporary notions about the female body. The concept of a feminist posthumanist theory of cyborg is a rejection of rigid boundaries, notably those separating “human” from “animal” and “human” from “machine.” I am focused on the myth of the primordial figure of Medusa, the Gorgon, generally described as a winged human female with animal features who was always depicted running. My intention is to create a machine that is always running like a treadmill which is a common piece of fitness equipment. Evi Kalogiropoulou’s portfolio →
Rebecca Lennon works across media including video, text, performance, sound and music to think about and play with the non-linear shapes and rhythms of the voice, memory and the speaking body. Testing the limits of language, she combines multiple voice layers, associative narratives, frenetic image sequences, tics, hums and loops to unsettle the boundaries between writing and thinking. Rebecca Lennon’s portfolio →
Bodies make noise, balance and support one another. Bodies come together and bodies leave each other. The conflicting choreographic measure becomes a paradox: staying lovingly together while remaining passionately independent. The poetics of tension extends the body into a technological matter. Through simulated emotions transformed into trance-like rituals of pop songs, dance and dating dialogues, affect is assimilated into patterns of technology. Lea Collet & Marios Stamatis’ portfolio →
Casting silence stems from questions of how do we enter the space of the image and what is the meaning of hearing or listening or knowing. The work attempts to expand the sculptural qualities of casting in a virtual private space. A cast made out of artist’s ear canal space is revealed as a fluid form, a cavity. It is slowly rotating and orbiting around the viewer by changing its density, its clarity and scale and becomes from a shape, a solid, then a surface before becoming an image. By seeking to unfold an invisible space into a visible one, the work is exploring politics of the world, the relationship between sound and physical, image and physicality. Karolina Stellaki’s portfolio →