Karel Doing
Group-portrait 1, Super8, 3:46 minutes, 2005
A 'Chinese whisper' between the employees of a coffee-bar. It is the game in which a message is repeated from one person to the next, down a line. The work explores the area between moving and still images, and simultaneously plays with the notion of secrecy and silence. Since the secret message that is transmitted between the protagonists can not be deciphered, the content can be decided by each viewer individually.
Karel Doing (1965, Canberra, Australia) makes expanded cinema; multi-screen, performative, cross-media and participatory works. His single screen works and installations are often the result of these processes and collaborations. He has worked together with individuals, groups and organisations in many European countries and in Indonesia, Suriname and the USA. Recurring themes in his work are: the relation between the cinematic image and music, the city as an organism, intercultural dialogue, and motion picture film as a material with a specific expression and vocabulary. He lives and works in London.
Group-portrait 1, Super8, 3:46 minutes, 2005
A 'Chinese whisper' between the employees of a coffee-bar. It is the game in which a message is repeated from one person to the next, down a line. The work explores the area between moving and still images, and simultaneously plays with the notion of secrecy and silence. Since the secret message that is transmitted between the protagonists can not be deciphered, the content can be decided by each viewer individually.
Karel Doing (1965, Canberra, Australia) makes expanded cinema; multi-screen, performative, cross-media and participatory works. His single screen works and installations are often the result of these processes and collaborations. He has worked together with individuals, groups and organisations in many European countries and in Indonesia, Suriname and the USA. Recurring themes in his work are: the relation between the cinematic image and music, the city as an organism, intercultural dialogue, and motion picture film as a material with a specific expression and vocabulary. He lives and works in London.
Joanna Mayes
Godolphin Leaf (2014)
16mm printed to digital
A leaf, hanging from a spider’s thread, spins alone in the woods, encapsulated in film and digitised. While we watch, the leaf is enabled to spin in perpetuity.
mayescreative.com
Godolphin Leaf (2014)
16mm printed to digital
A leaf, hanging from a spider’s thread, spins alone in the woods, encapsulated in film and digitised. While we watch, the leaf is enabled to spin in perpetuity.
mayescreative.com
Patti Gaal-Holmes
Terraça del Ossos (2014)
hand-processed 16mm film
duration: 3 mins
We reached the far edges of the farm at dusk. The small house waiting as the evening sky fell to pinks and oranges with leaves billowing and the wind sailing us into night. Here in the cradle of humankind we had begun to fall into the deep history of this place with jackal calling on walking in from the bushveldt. Our arrival marked by the faint light glowing from the Terraça del Ossos taking us in to eye socket, rivet and fracture.
Biography:
Patti Gaal-Holmes is an inter-disciplinary artist/filmmaker and historian. She works with film (both celluloid & digital), photography, artists' books, drawing and performance. Archival research, materiality and process are important in directing the outcome of visual work, which is informed by her cross-cultural background (half German and Hungarian; raised in South Africa), travelling/ living in various countries and research into discourses on migration, exile and colonialism. Patti is Reviews Editor for the Routledge journal, Transnational Cinemas and completed an AHRC-funded doctoral thesis on 'A History of 1970s Experimental Film: Britain’s Decade of Diversity' which is the subject of a forth-coming publication by Palgrave Macmillan (2015).
Terraça del Ossos (2014)
hand-processed 16mm film
duration: 3 mins
We reached the far edges of the farm at dusk. The small house waiting as the evening sky fell to pinks and oranges with leaves billowing and the wind sailing us into night. Here in the cradle of humankind we had begun to fall into the deep history of this place with jackal calling on walking in from the bushveldt. Our arrival marked by the faint light glowing from the Terraça del Ossos taking us in to eye socket, rivet and fracture.
Biography:
Patti Gaal-Holmes is an inter-disciplinary artist/filmmaker and historian. She works with film (both celluloid & digital), photography, artists' books, drawing and performance. Archival research, materiality and process are important in directing the outcome of visual work, which is informed by her cross-cultural background (half German and Hungarian; raised in South Africa), travelling/ living in various countries and research into discourses on migration, exile and colonialism. Patti is Reviews Editor for the Routledge journal, Transnational Cinemas and completed an AHRC-funded doctoral thesis on 'A History of 1970s Experimental Film: Britain’s Decade of Diversity' which is the subject of a forth-coming publication by Palgrave Macmillan (2015).
Jenny Baines
The 16mm film Aligning, depicts the artists repeated attempts to line a ping-pong ball up with the horizon using only the power of her own breath. Jenny Baines’ 16mm films often depict the artist performing a repeated task, the duration of which is determined by the wind up mechanism of the camera. The Sisyphean nature of these actions only highlights their absurdity. The physical nature of the performance and the relationship to the camera mechanism are of equal importance in the production of each work.
Biography:
Lives and works in London, graduated from the Slade School of Fine Art MFA in 2006. Screenings/exhibitions include: Oriel Davies Open 2014, 10thAnalogue Recurring, 100 foot, Copenhagen Film Festival, S1 Salon, Whitstable Biennial, Videoholica International Video Art Festival.
www.jennybaines.info
The 16mm film Aligning, depicts the artists repeated attempts to line a ping-pong ball up with the horizon using only the power of her own breath. Jenny Baines’ 16mm films often depict the artist performing a repeated task, the duration of which is determined by the wind up mechanism of the camera. The Sisyphean nature of these actions only highlights their absurdity. The physical nature of the performance and the relationship to the camera mechanism are of equal importance in the production of each work.
Biography:
Lives and works in London, graduated from the Slade School of Fine Art MFA in 2006. Screenings/exhibitions include: Oriel Davies Open 2014, 10thAnalogue Recurring, 100 foot, Copenhagen Film Festival, S1 Salon, Whitstable Biennial, Videoholica International Video Art Festival.
www.jennybaines.info
James Holcombe
Church Street Fragmented, 16mm, 2014
A reel of 16mm film from a forthcoming work on the Tyburn Gallows. Faces of Church Street near Marble Arch are chemically fractured to produce phantoms.
jamesholcombe.net
Church Street Fragmented, 16mm, 2014
A reel of 16mm film from a forthcoming work on the Tyburn Gallows. Faces of Church Street near Marble Arch are chemically fractured to produce phantoms.
jamesholcombe.net
Janet McEwan
Dance Stone Dance. 1.30mins. 2014.
Select a small stone from the garden.
Crush with a mortar and pestle.
Fix the pounded matter onto 16mm clear leader.
Loop the film to form a circle of stone.
This experimental film was produced while researching the Merry Maidens Stone Circle, a well known ancient monument situated near St Buryan’s in Cornwall for a collaborative project “We Are Petrified”. This stone circle is known in Cornish language as the Dans Maen, which translates as Dancing Stones. The myth is that a group of young women and two pipers were turned to stone for dancing past midnight on a Saturday.
Despite having spent many years working as a sculptor with stone I had never witnessed a stone dance. I had also never produced a 16mm film before. However inspired by the work of Stan Brakhage, I decided to explore how film might convey the qualities of stone. It was a pretty messy business, almost a battle between the stone and the projector who were rather reluctant dance partners.
The glitchy footage of my first attempt, recorded with a DSLR camera, reminds me of other more durational environmental cycles, which surrealist painter and author Ithell Colquhoun (1906 – 1988) refers to in her book about Cornwall, ‘The Living Stones’. ‘The life of a region depends ultimately on its geologic substratum, for this sets up a chain-reaction which passes, determining their character, in turn through its streams and wells, its vegetation and the animal-life that feeds on this, and finally through the type of human being attracted to live there.’
There are several copies of this out of print book held within the quiet, but perhaps not still, stone walls of Cornwall Library Service buildings. I was grateful to be able to borrow one for this small project that considers the distinctions between animate & inanimate and materiality of media.
Biography
Janet McEwan’s artist practice predominantly investigates our contingent dynamic with the natural environment: often probing the space between lived and mediated experience. Enduring interests include the parallels between the worlds of art and agriculture, as sites of durational performative activity, production, and uncertainty. Adopting immersive, layered, and collaborative modes of enquiry, outputs are diverse, frequently fusing materials based, digital, temporal and relational art forms.
Based in Cornwall since 2006, she lives with her husband on a small working farm across the bay from St. Ives, near Gwithian village.
http://janetmcewan.com
http://wearepetrified.tumblr.com
Dance Stone Dance. 1.30mins. 2014.
Select a small stone from the garden.
Crush with a mortar and pestle.
Fix the pounded matter onto 16mm clear leader.
Loop the film to form a circle of stone.
This experimental film was produced while researching the Merry Maidens Stone Circle, a well known ancient monument situated near St Buryan’s in Cornwall for a collaborative project “We Are Petrified”. This stone circle is known in Cornish language as the Dans Maen, which translates as Dancing Stones. The myth is that a group of young women and two pipers were turned to stone for dancing past midnight on a Saturday.
Despite having spent many years working as a sculptor with stone I had never witnessed a stone dance. I had also never produced a 16mm film before. However inspired by the work of Stan Brakhage, I decided to explore how film might convey the qualities of stone. It was a pretty messy business, almost a battle between the stone and the projector who were rather reluctant dance partners.
The glitchy footage of my first attempt, recorded with a DSLR camera, reminds me of other more durational environmental cycles, which surrealist painter and author Ithell Colquhoun (1906 – 1988) refers to in her book about Cornwall, ‘The Living Stones’. ‘The life of a region depends ultimately on its geologic substratum, for this sets up a chain-reaction which passes, determining their character, in turn through its streams and wells, its vegetation and the animal-life that feeds on this, and finally through the type of human being attracted to live there.’
There are several copies of this out of print book held within the quiet, but perhaps not still, stone walls of Cornwall Library Service buildings. I was grateful to be able to borrow one for this small project that considers the distinctions between animate & inanimate and materiality of media.
Biography
Janet McEwan’s artist practice predominantly investigates our contingent dynamic with the natural environment: often probing the space between lived and mediated experience. Enduring interests include the parallels between the worlds of art and agriculture, as sites of durational performative activity, production, and uncertainty. Adopting immersive, layered, and collaborative modes of enquiry, outputs are diverse, frequently fusing materials based, digital, temporal and relational art forms.
Based in Cornwall since 2006, she lives with her husband on a small working farm across the bay from St. Ives, near Gwithian village.
http://janetmcewan.com
http://wearepetrified.tumblr.com
Kayla Parker and Stuart Moore
WORT WALL WATER
2014 / 2 minutes 28 seconds / 16mm
A film by Kayla Parker and Stuart Moore
Production: Sundog Media
Filmed at Mount Edgcumbe in south east Cornwall, the first of the three sequences, 'wort', reveals a shifting, flickering light across leaves of navelwort; 'wall' looks at the top of a crumbling wall, radiating the heat of the day, and beyond to the rhythmic movement of ripened grass and a glimpse of turquoise sky; in the third piece, 'water', a fountain reaches the top of its jet, and tumbles back, caught in perpetual motion.
Exquisite moments held in the mind's eye replay the feeling of being in an 'other place', transported, dislocated: forever in the present, Wort Wall Water looks back to a time past, and forward to an imagined future.
Kayla Parker: Biography
Artist film-maker whose research interests centre around subjectivity and place, embodiment and technological mediation, from feminist perspectives, with an interest in expanded and 360 cinema. Her work is shown worldwide across public, gallery and online spaces, with network television broadcasts in the UK on the BBC, ITV and Channel 4; and in Australia, Canada, France, Austria, and Germany. Recently, her short films have been screened in the UK at FACT Liverpool, Tate Modern, and Saatchi Gallery, and she was a featured artist on Art on the Underground’s Canary Wharf Screen programme throughout summer 2012. Her work was exhibited at the Hong Kong Contemporary 2013, and in Romania, Slovac Republic, and Australia; and presented by Directors’ Lounge in Berlin and at Contemporary Art Ruhr.
In her practice she uses animation, photography, sound, performance, found objects, drawing, writing, working with film-based and digital technologies to explore the intersection between the natural world and urban environments, in particular the forgotten, liminal spaces of the city.
Kayla is a Lecturer in Media Arts with Plymouth University, where she is the chair of the Moving Image Arts (MIA) research cluster. She is co-organiser, with Roberta Mock and Ruth Way, of the Heaven on Earth? initiative, inspired by the writings of Jean Genet, which is funded by an EU Culture Programme grant (2013-14); and is the director of the 2014 collaborative dance film Heaven is a Place, created for project in partnership with Pride in Plymouth.
Stuart Moore: Biography
A film-maker and sound artist who uses digital and film-based technologies to make single and multiple screen works that explore our relationship to landscape and place, as well as the environmental tensions of urban regeneration and expansion.
His films include the 2010 Super 8mm film Sea Front, which won the London Short Film Festival Trick of the Light Award for its outstanding cinematography, and the trophy for the best Independent Film at the Media Innovation Awards. He also won the Artists’ Moving Image Award commission from Plymouth Arts Centre in 2011, to create a film exploring the built environment of Plymouth city centre, funded by the Arts Council and South West Screen (UK Film Council): Cinematic City takes a contemporary look at Plymouth's postwar built environment, contextualized by archive audio from long forgotten local television documentaries.
Stuart is a co-founder and partner of Sundog Media, the creative media production company responsible for award-winning short films such as The Other CO2 Problem, which won the 2009 Bill Bryson Prize for Science Communication awarded by The Royal Society of Chemistry. Other projects include Welcome to the Treasuredome, the 2-day artists’ moving image 360 festival for the Cultural Olympiad in Weymouth (for ICCI with Plymouth University, 2012) which attracted an audience of over two and a half thousand people, and the Sweet FA: A Journey Through Artists’ Film initiative (with Plymouth Arts Centre, autumn 2013 onwards) that introduces and investigates film-making and moving image in contemporary visual arts.
http://www.sundog.co.uk
http://www.kaylaparker.co.uk
WORT WALL WATER
2014 / 2 minutes 28 seconds / 16mm
A film by Kayla Parker and Stuart Moore
Production: Sundog Media
Filmed at Mount Edgcumbe in south east Cornwall, the first of the three sequences, 'wort', reveals a shifting, flickering light across leaves of navelwort; 'wall' looks at the top of a crumbling wall, radiating the heat of the day, and beyond to the rhythmic movement of ripened grass and a glimpse of turquoise sky; in the third piece, 'water', a fountain reaches the top of its jet, and tumbles back, caught in perpetual motion.
Exquisite moments held in the mind's eye replay the feeling of being in an 'other place', transported, dislocated: forever in the present, Wort Wall Water looks back to a time past, and forward to an imagined future.
Kayla Parker: Biography
Artist film-maker whose research interests centre around subjectivity and place, embodiment and technological mediation, from feminist perspectives, with an interest in expanded and 360 cinema. Her work is shown worldwide across public, gallery and online spaces, with network television broadcasts in the UK on the BBC, ITV and Channel 4; and in Australia, Canada, France, Austria, and Germany. Recently, her short films have been screened in the UK at FACT Liverpool, Tate Modern, and Saatchi Gallery, and she was a featured artist on Art on the Underground’s Canary Wharf Screen programme throughout summer 2012. Her work was exhibited at the Hong Kong Contemporary 2013, and in Romania, Slovac Republic, and Australia; and presented by Directors’ Lounge in Berlin and at Contemporary Art Ruhr.
In her practice she uses animation, photography, sound, performance, found objects, drawing, writing, working with film-based and digital technologies to explore the intersection between the natural world and urban environments, in particular the forgotten, liminal spaces of the city.
Kayla is a Lecturer in Media Arts with Plymouth University, where she is the chair of the Moving Image Arts (MIA) research cluster. She is co-organiser, with Roberta Mock and Ruth Way, of the Heaven on Earth? initiative, inspired by the writings of Jean Genet, which is funded by an EU Culture Programme grant (2013-14); and is the director of the 2014 collaborative dance film Heaven is a Place, created for project in partnership with Pride in Plymouth.
Stuart Moore: Biography
A film-maker and sound artist who uses digital and film-based technologies to make single and multiple screen works that explore our relationship to landscape and place, as well as the environmental tensions of urban regeneration and expansion.
His films include the 2010 Super 8mm film Sea Front, which won the London Short Film Festival Trick of the Light Award for its outstanding cinematography, and the trophy for the best Independent Film at the Media Innovation Awards. He also won the Artists’ Moving Image Award commission from Plymouth Arts Centre in 2011, to create a film exploring the built environment of Plymouth city centre, funded by the Arts Council and South West Screen (UK Film Council): Cinematic City takes a contemporary look at Plymouth's postwar built environment, contextualized by archive audio from long forgotten local television documentaries.
Stuart is a co-founder and partner of Sundog Media, the creative media production company responsible for award-winning short films such as The Other CO2 Problem, which won the 2009 Bill Bryson Prize for Science Communication awarded by The Royal Society of Chemistry. Other projects include Welcome to the Treasuredome, the 2-day artists’ moving image 360 festival for the Cultural Olympiad in Weymouth (for ICCI with Plymouth University, 2012) which attracted an audience of over two and a half thousand people, and the Sweet FA: A Journey Through Artists’ Film initiative (with Plymouth Arts Centre, autumn 2013 onwards) that introduces and investigates film-making and moving image in contemporary visual arts.
http://www.sundog.co.uk
http://www.kaylaparker.co.uk
