Painting is where the formal language of my moving image work emerges from, full of colour and a compulsion towards sensuous detail. It is a medium that offers my practice materiality and a different time code to that of digital video. I approach the movement of imagery across both media as a form of translation, curious about what details are lost or gain visibility and the different cultural connotations underlined by each medium.
Painting is where the formal language of my moving image work emerges from, full of colour and a compulsion towards sensuous detail. It is a medium that offers my practice materiality and a different time code to that of digital video. I approach the movement of imagery across both media as a form of translation, curious about what details are lost or gain visibility and the different cultural connotations underlined by each medium.
Painting is where the formal language of my moving image work emerges from, full of colour and a compulsion towards sensuous detail. It is a medium that offers my practice materiality and a different time code to that of digital video. I approach the movement of imagery across both media as a form of translation, curious about what details are lost or gain visibility and the different cultural connotations underlined by each medium.
Painting is where the formal language of my moving image work emerges from, full of colour and a compulsion towards sensuous detail. It is a medium that offers my practice materiality and a different time code to that of digital video. I approach the movement of imagery across both media as a form of translation, curious about what details are lost or gain visibility and the different cultural connotations underlined by each medium.
INGEST / digest / excrete
In collaboration with
Nicole Morris
[SPACE], 2018
...
With support from:
Arts Council England
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
‘F.L.A.G.’ is a single channel video structured as a three part digestive act, placing the body in direct relationship to architecture through moments of ingestion, digestion and excretion. Using a bilingual script to weave in photos from my personal archive documenting family in Mozambique with architectural scale models in the studio. House and body are portrayed as sites of containment inflected by histories of European colonialism. Through surreal acts in ingestion/expulsion the video attempts to address how this history might be digested.
The video was originally exhibited at ‘Cleave’, part of the GI 2018 across the city programme, alongside two sculptures, ‘Shelter (hot blue scream) I & II’.
Additional screenings at:
Outpost Members' Show selected by Jessica Warboys, Outpost, Norwich (2019)
Outpost Open Film selected by Stuart Whipps, Outpost, Norwich (2019)
Click on images to enlarge and view details including title, medium and date.
Diaries
Chalton Gallery, 2019
...
Photography:
Lorna Allan
'Tones for Voice and Colour' is a two channel video installation using translation to examine the legacies of empire on race, domestic architecture and labour between Brazil and the UK. Highlighting an absence of words in English to translate the vast vocabulary in Brazil describing skin tones linked to the miscegenation of its amerindian, african and european populations, the video points at the linguistic construct of our bodies and the fictive logic of race as biological fact.
Mapping the architectural legacy of slavery in the Brazilian middle class home still present today in the guise of the ‘banheiro de serviço’, or the maid’s toilet, the protagonist negotiates their own role in maintaining labour relations laid out along racial lines within the home, and how to reconcile the realities of two cultures which have been shaped by being at different ends of the colonial project.
In the gallery intensely saturated orange hues bring in the heat of the tropics and hanging colour planes re-orchestrate the movement of bodies through the gallery. At the end of this orange enclosure the video is viewed on two screens facing one another, so that they cannot be seen at the same time. The custom seating is based on basic, historic latrine designs, coercing the viewer into an awareness of their body as they watch the film.
In the windows two sculptural tableaux, ‘Diary I & II’ are on display. The tableaux portray the body as a linguistic site, and speculate on excretion as a means for the body to transcribe itself on its own terms.
Additional screening at:
The Rough Cut + Elinor Morgan at Tyneside cinema
Click on images to enlarge and view details including title, medium and date. An excerpt of the film is available below, please email if you wish to view the full video.
