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MANIFENCO. 2017

Collaboration with British contemporary artist Jamie Francis Measure Hughes 

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everything’s going to be alright. 2017

Single channel looped video, with audio 6m13

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Where there’s a will there’s a way. 2017

Installed as part of ‘Let’s Yarding’ by GAPS Curatorial. 

The Yard, 123 Grahan Rd, Hackney. London

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The Boost Project.

Celeste Prize, Finalist Exhibition 2017.

This interactive, living installation explores how social media allows us to live within an alternate reality; one in which we can easily attain a heightened sense of belonging, or a fleeting state of appreciation. The inflating orb aims to emulate the acceptance and self worth we can feel after receiving ‘likes’ on our posts or pictures online. Each time the orb is followed, receives a like, or is tagged with #theboostproject it gradually increases in size until it reaches its peak. If ignored, it begins to subtly deflate.

The work is activated via tagging #theboostproject, Following @BoostCeleste on Twitter and Liking on Facebook: The Boost Project 

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Here (Here). 2017

LCD monitor, perspex, polarised lens. 

Video footage: Gavin Freeborn www.freeborn.co

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FICTIONPIXELS, The Library of The Live or What The Eyes See. 2017 (ALBUM)

An excessive mechanical blending of performing technology, misdirection, moving image, illusion and visual perception constructed to subvert our habitual assumptions of contemporary technology and question the authority of information we willingly digest through our smart phones and computer screens.

The installation consists of a scattered but at the same time rhythmic orchestra of object and moving image. Performing every 15 minutes, the objects collectively play out a series of visual and narrative shifts though moving image and the anthropomorphic, mechanical choreography of two television monitors.

The content of the film plays out the repetitive, excessive rendering of 2 bookshelves trying to render themselves within the digital sphere. As the rendering increases, other areas of the internet begin to render with the bookshelves. Causing a mashup of pop music, mechanical glitches and funny animal videos. This choreography is structured in order to provide the viewer with a consistent shift in boredom, suspense and speed. After a compendium of excessive noise and distraction the monitors are mechanically tilted forward forcing the colour from the films to be expelled as physical liquid from the screen, dripping down the work itself as if crying / bleeding.

These incidents are captured by a tablet computer during a fake live stream. Asking the viewer to explore the notion of the live in relation to the structures of authority in which we place in our contemporary technology.

[anthamlyn]

Here (Here). 2017

LCD monitor, perspex, polarising film.

[anthamlyn]

Red Dot Hyper Love. 2017  (ALBUM)

Perspex, LED’s, white wiring

[anthamlyn]

How To Push Over A Bookshelf Without Being Seen. 2017

[anthamlyn]

An excessive mechanical blending of performing technology, misdirection, moving image, illusion and visual perception constructed to subvert our habitual assumptions of contemporary technology and question the authority of information we willingly digest through our smart phones and computer screens.

The installation consists of a scattered but at the same time rhythmic orchestra of object and moving image. Performing every 15 minutes, the objects collectively play out a series of visual and narrative shifts though moving image and the anthropomorphic, mechanical choreography of two television monitors.

The content of the film plays out the repetitive, excessive rendering of 2 bookshelves trying to render themselves within the digital sphere. As the rendering increases, other areas of the internet begin to render with the bookshelves. Causing a mashup of pop music, mechanical glitches and funny animal videos. This choreography is structured in order to provide the viewer with a consistent shift in boredom, suspense and speed. After a compendium of excessive noise and distraction the monitors are mechanically tilted forward forcing the colour from the films to be expelled as physical liquid from the screen, dripping down the work itself as if crying / bleeding.

These incidents are captured by a tablet computer during a fake live stream. Asking the viewer to explore the notion of the live in relation to the structures of authority in which we place in our contemporary technology.

[anthamlyn]

An excessive mechanical blending of performing technology, misdirection, moving image, illusion and visual perception constructed to subvert our habitual assumptions of contemporary technology and question the authority of information we willingly digest through our smart phones and computer screens.

The installation consists of a scattered but at the same time rhythmic orchestra of object and moving image. Performing every 15 minutes, the objects collectively play out a series of visual and narrative shifts though moving image and the anthropomorphic, mechanical choreography of two television monitors.

The content of the film plays out the repetitive, excessive rendering of 2 bookshelves trying to render themselves within the digital sphere. As the rendering increases, other areas of the internet begin to render with the bookshelves. Causing a mashup of pop music, mechanical glitches and funny animal videos. This choreography is structured in order to provide the viewer with a consistent shift in boredom, suspense and speed. After a compendium of excessive noise and distraction the monitors are mechanically tilted forward forcing the colour from the films to be expelled as physical liquid from the screen, dripping down the work itself as if crying / bleeding.

These incidents are captured by a tablet computer during a fake live stream. Asking the viewer to explore the notion of the live in relation to the structures of authority in which we place in our contemporary technology.

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Here. 2017

Digital still from latest installation; FICTIONPIXELS, The Library of The Live. 2017

On show at Chelsea College of Art, 8th - 14th September as part of the MA Summer Show. 

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Mind Sweats. 2017. Video Footage, Cookhouse Gallery, Chelsea College of Art. 

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Catch ‘First Last Kiss’ 2017 from 4th August - 2nd September. Group Show at Concept Space, Bermondsey, London, UK https://vimeo.com/200995413  

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Red Dot Hyper - Love. 2017

Drawing from latest installation You are Live, Please Swear - Preview 8th September at Chelsea College of Art Summer Show.

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The Boost Project 2015 - 2017 

Installed at Mediterranea18, BJCEM Albania Biennale, May 5th - 28th 2017. Albania Museum of National History.  #Theboostproject 

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Mind sweats. 2017 - mixed media, water and electronics. ALBUM

Images courtesy of Beci Kelly