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Project Info

1992 - 1996    Further information on artworks

1996    Float - The Guildhall, Southampton
Float - Owen Building, Sheffield University Sheffield
Float - Warhouse 6, Kingston upon Hull
Large-scale site-specific projection events for 3 sites in the UK. 

 

1996   Static
Installation, Fabrica Gallery, Brighton.

 

1996    Counterlight
Large-scale projection event, The Guildhall, Southampton. 

 

1996    Fastbuild
Large-scale projection installation shown on the facade of the Unitarian Church. Commissioned by BN1 Visual Arts Project.

 

1994    Fountainhead
Large-scale projection, Hanley Library, Stoke on Trent. 

 

1992    Adverse Camber
Site specific installation for City Museum & Art Gallery,  Stoke on Trent.   

 


 

 

1996
 


Float 
Large scale architectural projection event, The Guildhall , Southampton, 1996  [view slide show]
Large scale architectural projection event, Owen Building, Sheffield, 1996  [view slide show]
Large scale architectural projection event, Warehouse 6, Hull, 1996  [view slide show]

Hull Times Based Arts Film & Video Bursary Commission (1996) created for three UK sites 

Float consisted of three projected elements which were designed to engage the viewer at different distances around the building.  The first element was an architectural illusion created through the large-scale projections which had the power to draw people towards the building.  As the audience approached the facade a thermographic camera sited within the building detected the heat patterns of the bodies and movements.  This camera was linked to a data projector which projected these live images back onto the building. 

The third element involved a smaller projection of a material surface that was constantly evolving, which only really became visible at close proximity to the building.  This projection again was integrated within the larger scale projections. 

The large projections were created specifically for each of the three sites, whilst the conceptual approach and other elements remained the same. 

A series of scale architectural models were developed for each site and photographed with a 10 x 8 tilt and shift plate camera.  This process gave us the control to key in precisely with the architecture, correct keystone effect and allowed for multiple exposures.  

Float was devised as a nocturnal architecture constructed from light and illusion which could be applied to facades using projection. Like any other building material, light and illusion have their own inherent tectonic and physical properties.  The imagery within the projections explored the qualities of these properties and the contradiction of building with such ephemeral materials. 

  

 

1996


Static
  [view slide show]
Steel, glass and large format transparencies  
Site specific installation made for Fabrica, Brighton and shown as part of Incidents exhibition, 1996

Static was built within the Fabrica gallery space over a two week period.  The steel structure delineated a room size volume which spanned and was supported by the architecture of the old church.  Glass sheets holding large format transparencies intersected through the steel structure at various points.  Each of these showed a photograph of the view of the space from that particular viewpoint within the structure.  However the lighting within each the images suggested an atmosphere very different to the actual present one. 

The installation was inspired by the architecture and history of the building, and the title of the work made a playful reference to the ambiguous meaning of the word 'static'.  

 

 

1996


Counterlight
  [view slide show]
Large scale projections,  The Guildhall, Southampton, 1996
Assisted by Southampton City Council Public Arts Unit and funded by Hampshire County Council and Southern Arts

The title Counterlight was a description of projection as an alternative to the ambient light that normally reveals the Guildhall.  The projections used drawn images of architectural features to key with the existing facade to create a new projected architecture that altered according to a person's viewpoint.  The parallax that occurred when walking towards the facade was such that a three tiered projected structure from a distance slowly compressed down to two tiers closer up.  The projections were devised with this parallax in mind and encouraged people to move around the area near the building.   The projections were shown for five nights in March 2005. 

 

 

1996


Fastbuild
  [view slide show]
Large scale projections, Unitarian Church, Brighton, 1996
Commissioned by BN1 Visual Arts Project

The title Fastbuild referred to a building technique where architectural facades and styles are used to clad steel frames.  Architectural features such as pillars and pediments may only bear symbolic weight rather than having a structural function.  These ideas are synonymous with Fastbuild and the ambiguous nature of light projection as a material to build an architectural illusion.   

The Greek Revival facade of the Unitarian Church provided a strong architectural and stylistic framework with which to work.  The symbolic nature of this facade could be subverted then reinforced as key elements such as the pillars and architrave were altered or pulled apart.  The three dimensional qualities of the facade were utilised to create a series of spaces and structures that appeared animated as the viewer walk passed.

Each of the images were created by photographing scaled architectural models based on the dimensions of the actual building.  A 10" x 8" view camera allowed for multiple exposures and tilt-shift control to create high resolution slide images.

  

 

1994

 


Fountainhead
  [view slide show]
Large scale projections, Hanley City Library, Stoke on Trent, 1994
Commissioned by Hanley City Museum & Art Gallery, Stoke on Trent

Fountainhead was a site specific projection event for the exterior facade of Hanley City Library.  It explored the influence that an urban space could have on people's perception and movement.  It was designed with pedestrians in mind, not only as a destination but also as a visual event on the way to another place. 

The library's dimensions were used as the basis to construct a series of scaled architectural models which were photographed with a large format camera.  Forty different images were projected onto the wall with each image using the outer shell of the library building as its framework.

Four different perspective points were used when photographing the models.  When these images were projected, the perspective at certain points would coincide with that of the building and the illusion would be reinforced.  When the perspective did not coincide, the building would either appear to be set at an angle to its horizontal plane, twist round its vertical axis or the walls would converge to form a  wedge.  This created a very fluid illusion which altered according to the viewer's vantage point.  

 

 

1992


Adverse Camber
  [view slide show]
Site specific installation, Hanley City Museum & Art Gallery, Stoke on Trent, 1992
Commissioned by Hanley City Museum & Art Gallery and funded by West Midlands Arts

Adverse Camber was a large scale photographic installation commissioned specifically for the indoor Sculpture Court at the City Museum & Art Gallery, Stoke on Trent.  The installation operated on a number of different levels and could be viewed from the three floors within the museum.  
The title referred to the sloping screen which was built across the large court at the centre of the museum.  Projected images focused onto the five white areas to create an illusion of looking into a room.  These projections changed over time to create a space that was constantly evolving.

Beneath the screen was a large space defined by the supporting structure.  From this structure hung five glass-topped cases each containing a sloping white screen.  Holes cut into the large screen above allowed fragments of the projected images into the space below.  Mirrors positioned directly behind these holes reflected the projections down onto the small sloping screens within the cases.

The intention of the installation was to draw a parallel between this manipulation of images and the way in which cultural institutions create a particular context for the understanding and interpretation of objects and images.