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Rogue Game, Replay, 2008


Collaborators: Can Altay

Dimensions: Variable

Moving Imagery: 1 minute loops

Materials: TV monitors, DVD players, assorted leads, coloured tape

The installation replays three continual loops of footage from Rogue Game, First Play which have been interrupted with frames of pure colour. These short edited sequences repeatedly show moments of negotiation, collision and improvisation by the players. The monitors are configured in relation to tape markings positioned in relation to the spaces of their exhibition.

Exhibited:

Spike Island, Bristol, 2012

Casco, Utrecht, 2011

The Showroom, London, 2010

Smart Project Space, Amsterdam, 2009

 

To watch the moving imagery on Vimeo in separate window


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Word Play, 2008


Proposition No. 22

Dimensions: 23 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Exhibited: Gradcam, NCAD, Dublin, 2008


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Unstable Grounds for Play, 2008


Proposition No. 20

Dimensions: 23 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad


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First Move, 2007


Moving imagery: 2 minute 15 second loop with sound

Visual technique: Moving image montage of a found postcard and video documentation of a construction site. 

‘First Move’ is the first station of a lost city, a thought held in the mind, an action suspended, a splicing of time, an aspiration lost, a dream about to begin.

Copyright the artists.  Use of the black and white photographic still ‘Relaying the James Caird’ by Frank Hurley from the Imperial Trans Antarctic Expedition, led by Sir Ernest Shackleton, 1914-1916 courtesy of the Royal Geographical Society.

Exhibited / screened:

Sydney International Architecture Festival, Sydney, 2010

Crosstalk Video Art Festival, Budapest, 2010

‘Design Cinema Works’ ITU, Istanbul, 2008

‘Directors Lounge, Urban Film Programme’, 58th International Festival, Berlin, 2008

 

To watch film on Vimeo in separate window


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Rogue Game, 2007


Proposition No. 17

Collaborators: Can Altay

Dimensions: 27 x 21cm

Materials: Multiple copies of printed paper in the form of a tear-a-way pad

Text of work: ROGUE GAME.
Event.

Seek out an indoor sports hall with markings of at least three different game courts or pitches overlaid.
Enlist teams of players for each game.
Assemble the players on court dressed to indicate team and game.
At the whistle, simultaneously all games begin.
Each game is played for its duration.

Characteristics of Rogue Game –
playing amongst obstacles / advance and advantage / negotiation / collision / fracturing of order / stalling / stops / starts / feinting / indecision / clashes between balls / swapping of games by players / interruption / rhythm and counter-rhythm / synchronization / syncopation / redundancy / non-accidentals / contra-action / contingent moves – liable but not certain to happen

Exhibited:

Massachusetts Museum of Modern Art, North Adams, 2011

Showroom, London, 2010

Smart Project Space, Amsterdam, 2009


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Platform, 2006


Commissioned by: The Architecture Centre for Architecture Week with funding from Arts Council England and first realised in the city of Bristol.

Dimensions: Models – 7 x 7 x 7cm

Materials: Models of Jesomite and pigments, plywood case, paper maps, sack trolley, participants

Instructions for a Game: The game board is the City. A case will contain a kit for a game – 70 Platforms and 70 maps. The moment the Platform is handed over the game begins. Choose your grid intersection point on the city map. Navigate your way to this point. Hold, drop, position or discard the Platform as near to the intersection point as possible. Document the Platform in position by a photograph or description and email or text to the address supplied.

The Object of the Game: Each individual action of positioning a platform within the city is a small but significant rupture in a landscape we know as planned and prescribed in its use. Collectively the action of the participants will create a new and momentary geography of the city and map the diversity and the intrigue of our built environment.


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Proposed Alterations to a City Plan, 2006


Dimensions: 76cm wide x 123cm high, orientation variable

Materials: A found Corona Extra cardboard box spliced with Bristol City Council Planning Department’s Local Plan.  A Local Plan is a colour coded map designating different uses to areas of city

Published:

Ken Ehrlich and Brandon LaBelle (eds) Surface Tension Supplement No. 1, Los Angeles / Berlin: Errant Bodies Press, 2006


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Model, 2004


Dimensions: 188 x 204 x 194cm

Materials: Found cardboard packaging of consumer goods, fabricated into brick-sized units and stacked


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Was Here, 2002


Dimensions: 43cm x 350cm

Materials: Black and white emulsion paint

WAS HERE appropriates the language of graffiti, translating the personal to the architectural. A white wall of a new house overlooks an area which is due to be developed for luxury housing. The text ‘WAS HERE’ is painted black on the white wall and coated or veiled in white. The text immediately provokes two questions from the passer-by, ‘who was here’ and ‘what was here’. The development of the derelict site has encapsulated WAS HERE between party walls, its presence protected but not visible.

Published / reviewed:

Art Monthly, 10 ¦ 2003

Critical Architecture, Routledge, 2007


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Understanding the Measure of Things, 2002


Dimensions: 30cm x 45cm

Materials: Glicee print

Photographic documentation of an action.

Published:

Architects’ Journal 31|10|02 front cover


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Memories of a Journey at Night, 2000


Dimensions: Variable size, minimum 500cm width x 300cm height

Moving image: 4 minute loop as video projection

‘Memories of a journey at night’ shows an image of a diesel canopy at night from a fixed viewpoint and projected large scale. All the vehicles passing through the canopy have been edited out at the time of filming and the only movement visible is of the cars and lorries on the motorway. This movement has been slowed down to achieve a quality of suspension and stillness. The stillness and the silence of the imagery draws the viewer into the space and allows them to experience the diesel canopy as a destination.

Exhibited:

CCA, Glasgow, 2003

The Armory Show, New York, 2002

Frederieke Taylor Gallery, New York, 2001

Gasworks, London, 2000

Prema, Glos, 2000


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Survey of a Diesel Canopy, 2000


Dimensions: 280cm diameter x 72cm height, 150cm height of ground plane.

Materials: MDF, fluorescent light with daylight tube, emulsion paint, steel wire rope, rigid PVC.

‘Survey of a diesel canopy’ presents a view of a diesel station placed within a cylindrical form which is suspended from the ceiling. The ground plane is at eye level. The diesel station is stripped to its naked form and becomes generic. It is enclosed in a silent landscape and is isolated from what lies beyond. The piece allows the viewer to travel around it but the motion that is experienced is frozen. Any anticipation of arrival is denied to the viewer. The familiar becomes estranged.

Exhibited:

The Armory Show, New York, 2002

Frederieke Taylor Gallery, New York, 2001

Gasworks, London, 2000

Prema, Glos, 2000


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A Welcome Break, 2000


Dimensions: 154cm width x 154cm length x 170cm height.

Materials: Fluorescent lights with daylight tubes, halogen light with yellow gel, synthetic oak, double glazed units, MDF, mirror, emulsion paint, powder coated steel, found chairs, headphones, sound, text.  Slide projection on floor near by.

‘A Welcome Break’ presents a partially enclosed table-top model with a mirrored exterior and clear glass windows in two sides for viewing.  The model is fitted to a formed tubular steel frame with two fixed seats in relation to the windows, and sound on headphones.  The model describes a cafe at a motorway services as an interior that has been reduced to a floor, two walls, chairs and light.  The viewer is projected into this interior landscape through the sound of a person describing a visit there. An image of the floor pattern used in the model is projected to real scale close to the piece.  The projection and the mirrored exterior allow the model to shift in scale and take on the proportion of the space in which it is located.

Exhibited:

Gasworks, London, 2000

Prema, Gloucestershire, 2000


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She Couldn’t Remember the Details of the Journey #1, 2000


Dimensions: 208cm width x 300cm depth x 210cm height.

Materials: Rigid PVC, neoprene, fluorescent lights with daylight tubes.

This installation is in two parts and titled ‘She said she couldn¹t remember the details of the journey but could remember the impression that it left on her’. The image is of a model of a cross section of a motorway [scale 1:8 ] extended back into space within a recess in a wall. The ground profile, walls and ceiling are lined with black neoprene. Drawing on a journey at night the piece suspends the viewer at the point between the known space lit by headlights and the unknown territory beyond. A moment and space in an ongoing journey is made physical and architectural, expanding it in time. The viewer is absorbed into the blackness of the motorway landscape and becomes aware of his or her presence in a space which is normally defined by absence of the figure.

Exhibited:

Prema, Gloucestershire, 2000


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She couldn’t remember the details of the journey #2, 2000


Dimensions: 800cm width x 300cm height

Materials: Emulsion paint, fluorescent lights with daylight tubes

The second part of the installation re-presents the cross section of the motorway, altered in physicality and in scale.  The cross section of the motorway and blue expanse are a plane painted on a wall which is eight metres in length.   The black abstracted motorway is simultaneously impenetrable and an extended three-dimensional space allowing the viewer to project into it.

The two motorway cross-sections relate to a sound piece of a person recounting their memories of a car journey, the memory of one is mapped onto the experience of another.

Exhibited:

Gasworks, London, 2000

Prema, Gloucestershire, 2000


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