R.A.N.G.O.
Single-channel HD video
(03:41mins looped)
(2018)
R.A.N.G.O. is a single-channel video installation. The video depicts a chameleon, filmed on a set of artificial foliage against a green-screen backdrop. The chameleon was hired from AmeyZoo – a casting agency that supplies live animals and reptiles for use in film, television, advertising, music videos and nature documentaries.
Alongside starring roles in advertisements (incl. Dulux, Budweiser, Accenture), ‘Rango’ previously featured in nature documentaries produced for the BBC, ITV and the Discovery Channel, where he was used to obtain close-up shots and to recreate ostensibly ‘authentic’ action sequences within a studio environment.
With thanks to Mark Amey, Ossi Jalkanen and Claire Poulter
Video Link
Single-channel HD video
(03:41mins looped)
(2018)
R.A.N.G.O. is a single-channel video installation. The video depicts a chameleon, filmed on a set of artificial foliage against a green-screen backdrop. The chameleon was hired from AmeyZoo – a casting agency that supplies live animals and reptiles for use in film, television, advertising, music videos and nature documentaries.
Alongside starring roles in advertisements (incl. Dulux, Budweiser, Accenture), ‘Rango’ previously featured in nature documentaries produced for the BBC, ITV and the Discovery Channel, where he was used to obtain close-up shots and to recreate ostensibly ‘authentic’ action sequences within a studio environment.
With thanks to Mark Amey, Ossi Jalkanen and Claire Poulter
Video Link
R.A.N.G.O. (video stills)
Single-channel HD video
Single-channel HD video
PRIVATE ENTRANCES TO NATURAL SPECTACLES
Photographic Archive
(2018 - ongoing)
PRIVATE ENTRANCES TO NATURAL SPECTACLES is an ongoing project that aims to chart the privatization and enclosure of natural phenomena. This growing archive of digital images documents tourist infrastructure and points of transaction designed to separate ‘natural spectacles’ from the putatively prosaic or everyday.
Rather than document the spectacle itself, landscape photographs isolate the ticket barriers or visitor centres as point of exchange, making visible the mechanisms by which capital extracts value from ‘nature’ through the production of difference.
Photographic Archive
(2018 - ongoing)
PRIVATE ENTRANCES TO NATURAL SPECTACLES is an ongoing project that aims to chart the privatization and enclosure of natural phenomena. This growing archive of digital images documents tourist infrastructure and points of transaction designed to separate ‘natural spectacles’ from the putatively prosaic or everyday.
Rather than document the spectacle itself, landscape photographs isolate the ticket barriers or visitor centres as point of exchange, making visible the mechanisms by which capital extracts value from ‘nature’ through the production of difference.
51.2819 N °, 2.7657 W °.
Private Entrances to Natural Spectacles
Digital Image on Dibond
(2018)
Private Entrances to Natural Spectacles
Digital Image on Dibond
(2018)
55.5578 N °, -4.7187 W °.
Private Entrances to Natural Spectacles
Digital Image on Dibond
(2019)
Private Entrances to Natural Spectacles
Digital Image on Dibond
(2019)
R.A.N.G.O. II
Moving image files distributed on Adobe Stock website
(2021)
R.A.N.G.O. II (2021) is a re-make of R.A.N.G.O. (2018). The video footage from R.A.N.G.O. is spliced into discrete sections in order to create a series of fragmentary video clips. Detached from context, these fragments are subsequently uploaded to Adobe Stock - a leading stock website popular with creatives. Individual clips can be downloaded by visitors, and used for free to create future works.
As one video becomes many videos, moving images enter into new relations.
Material circulates. Value extends.
Moving image files distributed on Adobe Stock website
(2021)
R.A.N.G.O. II (2021) is a re-make of R.A.N.G.O. (2018). The video footage from R.A.N.G.O. is spliced into discrete sections in order to create a series of fragmentary video clips. Detached from context, these fragments are subsequently uploaded to Adobe Stock - a leading stock website popular with creatives. Individual clips can be downloaded by visitors, and used for free to create future works.
As one video becomes many videos, moving images enter into new relations.
Material circulates. Value extends.
THE MAN IN THE WOODS
Three-channel video installation, dibond and aluminium
(2018)
Three advertising art directors were commissioned to design a set for the first two scenes of the screenplay ‘The Man in the Woods’. In the screenplay, a city-worker named Milton enters a contemporary gallery, and encounters a work of art that leads him to have visions of uprisings and revolutions. He subsequently decides to abandon his job, driving off into the distant sunset. Rather than construct the sets, a structured interview was conducted with each art director, discussing the decision-making processes behind their respective outsourced designs.
The artwork’s title is taken from the 17th century epic poem ‘Paradise Lost’ by John Milton.
With thanks to Steve Blundell, Max Lincoln, and Harriet Porter.
single-channel edit
screenplay
Three-channel video installation, dibond and aluminium
(2018)
Three advertising art directors were commissioned to design a set for the first two scenes of the screenplay ‘The Man in the Woods’. In the screenplay, a city-worker named Milton enters a contemporary gallery, and encounters a work of art that leads him to have visions of uprisings and revolutions. He subsequently decides to abandon his job, driving off into the distant sunset. Rather than construct the sets, a structured interview was conducted with each art director, discussing the decision-making processes behind their respective outsourced designs.
The artwork’s title is taken from the 17th century epic poem ‘Paradise Lost’ by John Milton.
With thanks to Steve Blundell, Max Lincoln, and Harriet Porter.
single-channel edit
screenplay
The Man in the Woods (video stills)
Three-channel video installation
(2018)
Three-channel video installation
(2018)
TURN THE WORLD UPSIDEDOWN
Digital Image on Dibond
(2019)
In 1649, Gerrard Winstanley attempted to initiate an agrarian community at St George’s Hill near Weybridge, U.K. Founded upon principles of radical Protestantism, the community opposed private property relations, and instead sought to envision an ecological interrelationship between individuals and their natural surroundings. St George’s Hill is now the largest private estate in Europe, containing over 420 homes scattered across 964 acres of woodland. In 1920, property developer George Tarrant built the estate for wealthy Londoners to escape the bustle and stress of urban life. Today, the gated estate is managed by a private security firm and is home to a number of high net-wealth individuals and celebrities, with property prices ranging from between £2 million and £40 million. Additionally, a residents committee protects the welfare and wellbeing of the community.
In August 2019, a typewritten letter was dispatched to the Residents Committee in an attempt to initiate a ‘community play’ that will encourage individual residents to reflect upon these collective histories.
A reply is yet to be received.
Digital Image on Dibond
(2019)
In 1649, Gerrard Winstanley attempted to initiate an agrarian community at St George’s Hill near Weybridge, U.K. Founded upon principles of radical Protestantism, the community opposed private property relations, and instead sought to envision an ecological interrelationship between individuals and their natural surroundings. St George’s Hill is now the largest private estate in Europe, containing over 420 homes scattered across 964 acres of woodland. In 1920, property developer George Tarrant built the estate for wealthy Londoners to escape the bustle and stress of urban life. Today, the gated estate is managed by a private security firm and is home to a number of high net-wealth individuals and celebrities, with property prices ranging from between £2 million and £40 million. Additionally, a residents committee protects the welfare and wellbeing of the community.
In August 2019, a typewritten letter was dispatched to the Residents Committee in an attempt to initiate a ‘community play’ that will encourage individual residents to reflect upon these collective histories.
A reply is yet to be received.
MARGINS
Single-channel HD video
(2019 - ongoing)
MARGINS is a collaborative single-channel video work.
Shot over the course of a year across areas of arable and mixed-use farmland, MARGINS aims to examine the proliferation of ‘natural capital services’ in relation to rural and urban communities. The concept of ‘natural capital’ represents an attempt to ascribe value to all goods and services produced by ‘nature’ - to think ‘nature’ objectively, in its totality.
Drawing comparisons between agricultural and cultural or artistic production, MARGINS aims to consider what possibilities remain for the margins in a time of mass cultural production. MARGINS reconsiders the relationship between local and global capital flows, residual histories and speculative counter-fictions, to contest forms of standardisation, rationalisation and capitalisation.
Single-channel HD video
(2019 - ongoing)
MARGINS is a collaborative single-channel video work.
Shot over the course of a year across areas of arable and mixed-use farmland, MARGINS aims to examine the proliferation of ‘natural capital services’ in relation to rural and urban communities. The concept of ‘natural capital’ represents an attempt to ascribe value to all goods and services produced by ‘nature’ - to think ‘nature’ objectively, in its totality.
Drawing comparisons between agricultural and cultural or artistic production, MARGINS aims to consider what possibilities remain for the margins in a time of mass cultural production. MARGINS reconsiders the relationship between local and global capital flows, residual histories and speculative counter-fictions, to contest forms of standardisation, rationalisation and capitalisation.
MARGINS (production video stills)
2020
2020