Performance / Film

Always land web film .jpg

So what was this Earth that the meek were to inherit? What if it had already been inherited? A film, installation and performance in collaboration with Gary Charles & Jodie Langford. The theme of the work takes the North East Coast of England as it’s starting point and primary setting. This coastline holds particular fascination as the site of some of the country’s most rapid coastal erosion (due to climate change), as well as its largest renewable energy projects in the form of offshore wind farms. These interlocking developments form an ideal location for artistic interrogation. In the film, we find #AltBlingQueen and her Jester, MiddleLanders casting spells and enchantments to the ocean, sending clicks from a groovebox, summoning jewelled creatures that hold the seabed hostage. They seek to release the wind, the land and the seabed back to The Commons, freed from the shackles of private enclosure, emancipated from the scourge of rent-seekers and inherited wealth.

Always the Land

Film Stills

In collaboration with Gary Charles and Jodie Langford

2021

The Credo takes place on the outskirts of Johannesburg, the Cradle of Humankind, in front of the ruins of what was once an outpost for Lord Milner The British High Commissioner to South Africa at the time of the Second Anglo-Boer War. Lord Milner penned a personal credo that was published throughout the British Empire. This film is a fictionalised re-enactment of the writing of this credo. The content remains unchanged, his words providing the audience with a stark reminder of the prevailing national sentiment at the time. Lord Milner is re-imagined as if existing in one of my paintings. This provides an added layer of absurdity to accompany his haunting words. The film was made in 2014 before the #RhodesMustFall movement had gained momentum in South Africa and the UK. Milner was an ideological heir to Cecil Rhodes’ vision of British imperialism and racial superiority. After researching Milner’s career, views and actions, we were surprised there was not more of a backlash against these historical figures. Britain still retains a blindspot when considering their actions undertaken as a colonial empire. To me, representation of these figures, whether in name or statue, represents a history of subjugation in the pursuit of economic gain and race or nation-based dominance. This work questions their place in history and contemporary society

The Credo

Film Stills

In collaboration with Gary Charles

2014

No More History

Film Stills

In collaboration with Gary Charles and Thomas Voelker

2013