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In Search of The Real: Spikes

"In Search of The Real: Glitches" (a simultaneous work, shown at Towner in the East Sussex Open 2014) was a response to a disenchantment with the current global social/political environment. A glitch is also referred to as a spike of electrical current. A spike seems more hopeful than a glitch. This video is one of a series which make use of found videos that originally imparted a philosophical or spiritual argument. It explores a state of continual flux, dissolving realities and poses questions of possibility. Does art facilitate a liberation of the mind? I am finding that the more liberated my thinking becomes the more is revealed that was previously un-seen/heard. "In Search of The Real: Spikes" is one of those oddities where effort and serendipity meet, colliding at 2min46 when the audio states of its own accord that it is an artist.

In Search of The Real: Spikes

NR 2013
East Village

A drone inhabited by the mind of a property developer arrives ‘top down’ from above and flies through the newly built residential neighbourhood in East London and gathers data at twilight. During the journey it maps the new utopian space it has built with its mechanical gaze, commenting and interacting with its findings, ‘We want to contain and retain our residents’. This is a place built in a bubble, controlled within the walls of developer’s billboards. Privately owned, East Village is awash with branding and reaffirming smiling faces. Purchase a luxury flat and buy into the services, life style and more. As the drone declares ‘Everything you need is here!’ With Westfield shopping mall on your doorstep, its ever present logo glowing like a beacon of hope, why would you ever want to leave?

East Village

NR 2020
Some Protection

Made as one of a four part series exploring different aspects of women and the law, on which all the women animators involved researched and worked as a group, before then making individual films, each quite different in content, tone and style. Based on the real life experiences of Josie O Dwyer, the film uses her voice as commentary, taken from hours of taped conversation with the filmmaker. Different styles of drawing convey her emotions and the devastating effects detention and imprisonment have on young girls put away 'for their own protection'.

Some Protection

NR 1987
London Knowledge

Since 1865, no cab driver in London has been able to omit “The Knowledge”. It requires the memorisation of 320 routes, an achievement that takes years, but has been made into a joke by the robot cars of the future. A flesh-and-blood cabby “interacts with people from all walks of life,” according to a brochure by Transport for London, and that’s “a lot more than just taking people from A to B.” Visually fascinating, Colson traces his interviewees’ mind maps of the city using the mapping technology of robot cars.

London Knowledge

NR 2020
Crystal World

Crystal World is inspired by J.G Ballard’s apocalyptic science fiction novel of the same name where a viral crystal metamorphoses trees, animals, humans and architecture into frozen jewels forever suspended in time and space. The novel is a haunting portrait of a world in which everything is illuminated by prismatic light, a ‘leaking’ of time that causes humans to experience individual moments endlessly looped, repeated and prolonged. My film adapts this concept of crystallization and applies it to fragments from the 1955 film. I reconstruct scenes from Charles Laughton’s iconic film with underwater puppets, which I then crystallize using ammonium phosphate crystals, time-lapse photography, mirrors, prisms, and projectors. (http://piaborg.com)

Crystal World

NR 2013
The Lambton Worm

"This video was copied from an animated cartoon film which I shot on standard 8mm ciné film. The project was started in 1961 (when I was 12) but, because of exams and girlfriends, I only managed to finish it in 1969. I was not able to add sound to the 8mm film. The soundtrack was added to this video in 2013, using the 1960 Owen Brannigan recording with my own voice overdubbed. In the 1960s I could not find a supplier of proper Celluloid "cels" so I had to paint each character image on sheets of thin cellophane bought from the local butcher. These sheets often became distorted and difficult to register accurately. There are many unwanted reflections due to the ripples in the cheap cellophane sheets."

The Lambton Worm

NR 2013