Animated abstracted synthetic sound-to-image/image-to-sound digital materialist parsing experiments collide with trad pagan Beltane folk dance remixed Seven Step Polka in fragmentary, fractured and fast digital scratch mix. A hybrid of materialist and spatial exploration.
The video begins with very short snatches from a combination
of colourful abstracted sequences and a grainy low light night
time shot through a distant window, with a television flickering
behind translucent curtains. The sound is glitchy and fragmented.
These sequences gradually become longer until images of traditional
English dancers appear set to sampled traditional music. Gradually
these dancing shots come to dominate flickering alternating
single frame cutting with the previous images. The piece winds
down as the short abstracted sections again become shorter and
fragmented, echoing the beginning of the piece.
remixed as ex
The fidgety movement of objects in the view from the window,
which belies the uneasy stillness of the scene, is the scrubbing
of the video track improvising a soundtrack of scratch manipulation
of midi audio. Local Authority is punctuated by a montage
of snatched read selections from London County Council's 1950s
publication Tenants' Handbook provides a shifting refrain in
this song portrait of a 1920s housing estate.
Club Transmediale, Berlin, 6th February 2006 Raum fuer projektion & Deutz Air, Cologne, January 2006
International Film Festival Rotterdam, January - February 2006 Blindemuur, Chaseé Theater Breda, January 2006 Kunstverein Wolfsburg, November 2005
Lounge der Internationalen Kurzfilmtage Oberhausen, with Adam Butler (live), May 2005
Space Pacer 2:30,
Multitrack black and white rotating microdots, plus layered
time shifted granulated electro fuzz music, equals temporal
spatial phasing, in an intense stroboscopic digital abstraction.
Impakt, Utrecht, The Netherlands, June 2003
Tagawa International Short Film Festival, Japan, June 2002
through tunnels and foyers; on trains, buses and ferries; in
elevators, airports and city streets - transitory environments.
Metalogue is a travelogue that uses formal techniques
to explore spatio-temporal resonance and phenomena. Interspersed
with interludes that combine digital excess, abstracted text
and voice reciting information relating to the digital video
material, and collages of public announcements. Pursuing the
notion that the normally backgrounded or hidden information,
instructional, metadata and other quotidian media, rising through
the digital database editing logic, becomes part of the poetical
structure and language in an intermediate realm between description
The Defenestrascope throws the view through windows from monumental towers, in contemporary and medieval European city and town. This eccentric exploration of urbanised space revolves around a sample ensemble setting of the traditional 16th century Norfolk song Go from the Window, framed by a fragmented clapping rhyme. A neo-rococo vaudevillian romp dedicated to Alan Lomax and Gus Elen.
go from the window, throw from the window
downsteps upstairs, upsteps downstairs
down in the street, out in the street
the wind is in the west, the cuckoo's in the nest
along the canal, down from the torre
bicycle piazza, amphitheatre
through the agora, crossing the ringroad
a ladder and some glasses, a rope and a pulley
crossing the platz, along the strasse
out of the window, down from the window
War on Television
durations vary, 2004 Breaking
The War on Television is made almost entirely from images derived from interference fractured digital television broadcasts. These are randomly processed and manipulated through layers of scratch techniques exaggerating the stuttering fragmentation.
The pristine digital veneer, the authority and reliability of the always-on 24 hour news channel fucked-up, becoming abstracted into a flow of jarring noise and stammering incoherence. A celebration of digital anti-aesthetics, excess and entropic fallibility.
The Wormhole Saloon, Whitechapel Art Gallery, London, UK, Friday 11 November, 2005: The War on Television (improv Freeview remix) performed by Steven Ball (video) and Tom Wallace (sound).
1:00 (sound)/7:00 (silent for installation), 2007
areas and blocked streets have become an increasingly common
occurrence in urban centres. The strategy of producing public
spaces of exception disrupts the pedestrian's everyday practice
of writing the city. As regular pathways are rerouted along
side streets and down unfamiliar alleys, the city starts to
become a strange place, a more abstracted experience. No-way
Street enacts the discombobulating effect of such orientation
realignment through a series of multiple short video and audio
loop sequences of blocked streets, diverted pedestrians and
police cordons, constructed as a spatial and temporal matrix.
Ground, the Sky and the Island
video reworks photographs, super 8 film, sound and anecdotal
text from a series of bush and outback locations across Australia
during the 1990s. It takes the form of extracts from an imagined
first person journal, layered over extruded experiments with
composition and movement constructing a synthetic shifting landscape.
Moving through discrete but related sections, the abstracted
view shifts vertically through 90 degrees between the closeness
of the local, the ground, and the claustrophobia of the distant
colonizing horizon. As it travels east from the South Australian
desert, through bush, tablelands and rocky range, the video
becomes a subjective essayistic meditation, in absentia, on
being in the landscape, the problem of attempting to reproduce
these landscapes and the uncertainty of their representation.
At its inconclusion we arrive on K'gari (Fraser Island off the
coast of Queensland) where we reach the edge of the known world,
a space being made in an open future.
the Borough Island 1:52,
two videos were made for the third volume of the One
Minute series curated by Kerry
Baldry. Both videos layer sequences shot in a specific single
location, each using a different formal technique, as a way
of experimenting with representing spatial qualities of a landscape
and the specificities of the place. The places could hardly
be more different and distant from each other. Over Magnetic
Island was shot on the island off the coast of Queensland,
Australia and consist of superimposed pans of a view from an
abandoned fort on the island, built during the second world
war to guard Australia against a feared Japanese invasion. The
soundtrack was also recorded on the island, on the walk to the
fort. Over the Borough Island takes a similar approach
but uses digital mattes from a static shot south along Borough
High Street from a traffic island. The soundtrack consists of
redacted directions home.
Myths of South London
Myths of South London adapts world views associated with
indigenous people of Oceania to an interpretation of the space
and social history of places in South London. As the first
manifestation of the project, this video is presented as its
prelude and explores New Kent Road, a major road close to
the artist’s home. This application of attitudes to
the status of the dead and human relationship to the ground,
becomes a materialist alternative to the concept of the genius
loci and the familiar. The approach is measured and austere,
employing an arrangement of animated photographs and voice
texts that becomes a poetic essay.
Personal Electronics 25:51, 2010
Personal Electronics is an experimental documentary tracing the experiences of victims of phenomena associated with electronic harassment (such as gang stalking, directed energy weapon attacks, voice to skull transmissions, and so on), using material found on the internet. Personal Electronics was first manifested as a spoken word and video performance.