Offsite Projects Archive
- 'EYECATCHER III':
Alison Ballard, Hazel Brill,
Nikhil Vettukattil, Sam Williams
- 20 January to 22 April 2018
- Big Screen Southend
This continued series seeks to provide focus for the work of emerging artist filmmakers with the provision of a platform for the daily screening of moving image in the public realm.‘EYECATCHER’ refers to the motif of the Big Screen as a feature that commands or enhances our attention as we enter Elmer Square. As a permanent outdoor video screen curated by Focal Point Gallery, each series is chosen to reflect the current concerns of the gallery programme.
Upon the successive screening of four ‘EYECATCHER’ series, each participating artist will be considered for a new Big Screen commission in 2018/19, with the opportunity to further develop their practice. To see details on the previous programme, please see here.
Films in order of display:
'Recto Verso 360', 2018
'The Inner Voice', 2017
80% of people hear an inner voice when they read. It helps us to understand and digest what we are reading but it also slows us down. Speed-reading technologies can help us to remove the inner voice but this voice may be a profound part of what it means to be human. What impact could removing it have on our cognitive abilities and our sense of self? In this short text-based video, Ballard invites us to do battle with our own inner voice, to experience life without it, while musing upon its significance within our own lives.
'I Made A Show For You', 2017
In ‘I Made A Show For You’, a theatrical set stages a narrative that moves from melodramatic accounts of an office experience into realms of fantasy. Deriving from the term ‘chip on your shoulder’, an animated antagonised
chip guides us through varying layers of fiction where cannibalistic actions and digestion are recurring motifs.
'In Succession', 2016
Originally commissioned for the Museum of London in 2016, this animation traces the state of limbo between the aftermath of the Great Fire of 1666 and the city’s rebuild.
Made from footage uploaded to youtube without having been viewed. The unedited video shows cars racing on a track somewhere in the United States at the beginning of the 21st century. A man is attempting to film the vehicles without permission so that his father, who could not attend the event, can experience the event by proxy. We hear the man talking with security and circling the track trying to find a vantage point, all the while commenting on the models of the cars with enthusiasm. In attempt to avoid security, he leaves the camera switched on in his pocket. The video then becomes an abstract synchronisation
of light bleeding through the mesh of his shorts and the orange glow of the recording light as he paces around the track. The artist has recorded the video in its original 360p scale on a 1080p screen, refilming the result in 4k so that each pixel corresponds to each LED of the monitor, and presents the result on the purpose-built LED display in Southend. Each stage of the video’s multiple mediations is evident, making the multiplicity of viewing conditions an element of the result.
'tactility and distraction (the push)', 2015
‘tactility and distraction (the push)’ is a short video fragment, showing an increasingly outmoded form of advertising display in Paris. “Coursing through the HD digital loop are not cars but alternating advertisements held in glass. A film about nuns, 12 Years A Slave , makeup forever, traffic noise. The film posters betray the year of the artwork and yet, through it, they are also timeless, caught in a silently manic circulation. Again, like in the transfer of the found
footage to film, editing entails a technical doubling: at the end of each circulation between the posters, so too does the video’s own image swipe right, as if devoted to the same incessant mechanism.” By re-presenting the work in the public context of an advertising display, the image slips back into the mode of circulation it was intended to comment upon; an advert without a product; a mise-en-abyme.
'it is not the outside surface but the inside surface', 2016
‘it is not the outside surface but the inside surface’ treats the artist’s body as a semi-permeable membrane, a threshold space through which the landscape and elements pass. It is a frenetic, visceral exploration of skin, spit, mud, water and concrete.
‘loomings’ looks at this body transformed into a new world. Decomposing, rotting, leaking; eating and being eaten; devoured, absorbed and broken apart.
The programme will launch on Saturday 20 January from 6.00 to 8.00pm alongside the launch of 'Other Voices, Other Rooms', Paul Anthony Harford, and 'Caprona', Alexandra Leykauf, at Focal Point Gallery. All welcome.
About the Artists
Alison Ballard is a multi-disciplinary artist based in London. She explores changing notions of what it means to be present, to witness something in real time, and the impact technology is having on our sense of self through film, installations, audio, performance, and geo-locative technologies. Previous exhibitions include Whitechapel Gallery (London), IMT (London), Silent Barn (New York), Bloc Projects (Sheffield), Barbican (London), Tenderpixel (London), SOMArts Cultural Centre (San Francisco) NURTUREart (New York) and HTMlles 11 (Montreal).
Hazel Brill (b.1991, London) uses video, sound, animation, text, sculpture and installation to stage narrative videos that merge disparate contexts, oscillating between fiction, fantasy and the everyday. Selected recent exhibitions and projects include:
A Pig’s Ear, SET, London; I Made a Show For You, Artagon, Paris; Workplace, Workplace Gallery, Newcastle; Welcome, Chalton Gallery, London; Druids in The Deadhouse, Museums at Night with Bedwyr Williams, Somerset House; Colgate and Honda Penetration, East Bristol Contemporary, Bristol; In Bardo Act Two, Figure2, Baltic 39, Newcastle. Hazel received the Boise Travel Scholarship; the Connect! 2016! Mentor Award; and the Sackler Hall commission at the Museum of London. Hazel has recently completed an MFA at Slade School of Art, London.
Nikhil Vettukattil (b.1990, India) is an artist living and working in London. His current work is concerned with the role of representational images in framing and remaking lived experience. Recent projects include ‘Denying the Inflammability of the Twigs Found in the Copse This Morning’ at 3236RLS, London,‘ Perception is Reading ’ for Notes/Cashmere Radio, Berlin, ‘EitherThe Nearest Or The Farthest Away’ for Bizoux.online, and ‘Cosmopolitan Universal Cinema’ at Close-Up Cinema, London and the Arnolfini, Bristol.
Sam Williams is an artist filmmaker based in London, where he studied MA Sculpture / Moving Image at the Royal College of Art under the tutelage of Stuart Croft. He has shown work nationally at institutions such as Tate Britain, V&A, Sadler’s Wells, Outpost and Baltic39 and screened internationally in countries including Egypt, Russia, Germany and Norway. As part of the audio-visual group Emptyset he has performed across Europe and has shown collaborative works with Rosemary Butcher MBE at The Place, Nottingham Contemporary and Akademie der Künste (Berlin). He was awarded the Relax Digital Commission (2016) and the Stuart Croft Foundation Award (2017). Sam is a founding trustee of the Rosemary Butcher Foundation where he will help oversee the preservation and promotion of her archive and legacy.