Artists Exhibiting in ArtSway’s Gallery 3:

Film/Video as Material:

Nicola Naismith, Video Triptych, 2003, 2mins 30secs

Nicola Naismith explores the ordinary qualities of everyday items, for example the white shirt and the sewing needle, using a combination of digital and analogue processes. Naismith considers Video Triptych to be a seminal work that asks the question – is the movement generated by human (traditional) or mechanical (technological) means? A traditional tool is combined with new technology to create a new position for the needle and thread. The ergonomics of the making are important as the technology is placed in the space created by the activity, in this case the space between the body and the hands. Naismith’s approach to the needle and video camera is to view both as equal in status and value. The alliance of these different tools in Video Triptych creates a position within contemporary art that bridges fields of skill and knowledge.

The objects Naismith selects are subject to complex questions concerning production, labour, value and the human machine. She is specifically interested in the relationships between white and blue-collar workers and represents ideas through works that unravel operations between hand, eye, brain, body and machine. The artist gratefully acknowledges the Arts and Humanities Research Council studentship that supported the making of Video Triptych during her Masters Degree study in Textile Culture at Norwich School of Art and Design.

Nicola Naismith Biography

Nicola Naismith uses video as part of a multi-disciplinary approach to practice that she has continued to develop since graduating with distinction from a Master’s Degree in Textile Culture in 2003. She has exhibited across the UK and presented at international conferences, The Space Between, Australia and Challenging Craft, Scotland (both 2004). In 2005 she was selected for the Commissions East Mentoring Scheme and later the same year Escalator Visual Arts an Arts Council England, East initiative that included a commission for new work for the Foundling Museum London. RSVP Contemporary Artists at the Foundling (2007) was curated by Gill Hedley and offered Naismith the opportunity to make new site specific work in response to the social history of the Foundling Hospital. She recently gave a presentation of her work at the ICA, London as part of Candy + Code a Textile Futures Research Group salon evening alongside Rachel Beth Egenhoefer and Barbara Rauch (2008). Bulk, a photographic work was recently exhibited at the 2008 Eastern Open and awarded Joint Best in Show.
She is a founder member of Satellite an artist led critical dialogue group based in the East of England and is a lecturer at Norwich School of Art and Design. Naismith is currently being supported by the National Lottery through Arts Council England, Norfolk County Council’s Art Fund and the Sir Phillip Reckitt Educational Trust for a self initiated project to research and produce a new body of work.

Cynthia Beth Rubin & Bob Gluck, Layered Histories: The Wandering Bible of Marseilles, 2004, 3mins 35secs

Layered Histories is the imaginary story of an actual 13th century illuminated Hebrew manuscript, today known as the Marseilles Bible. The music and images of this work mirror the many layers of this Manuscript: as a beautiful artefact, as a work of art reflecting the convergence of cultures in medieval Spain, and as a text which tells stories which themselves are layered in meanings.

The history of the manuscript is only partially known. Created in Toledo, Spain around 1260, the Bible visually embodies the multiple influences of Jewish convergence with Christian and Islamic cultures. When the 1492 Expulsion forced the Bible to flee Spain, it travelled to the Ottoman town of Safed, where it was amongst religious mystics seeking the means to repair the ills of the world. It subsequently disappeared until mysteriously, around 1884, two volumes of the Bible were discovered in the collection of the Bibliothèque Municipale of Marseilles, where they reside today. (Marseilles MS 162, 1-111).

Cynthia Beth Rubin Biography

Cynthia Beth Rubin is a visual artist working in 2D still imagery, inter-activity, animated images, and 3D imaging, who began experimenting with digital media in the early 1980’s. Trained as a painter, her work evokes cultural memories and the imagined past by intertwining photographic elements to create complex layers of color and texture. Rubin’s work has been exhibited and screened in such diverse venues as the Jewish Museum in Prague, the Pandamonium Festival at the ICA in London, the Lavall Gallery in Novosibirsk, the DeLeon White Gallery in Toronto, and numerous editions of ISEA, ArCade and SIGGRAPH. Winner of the first award in New Media from the Connecticut Commission on the Arts, she was recently awarded this grant for a third time. Other awards and residencies include the New England Foundation for the Arts, Videochroniques in Marseilles, CYPRES in Aix-en-Provence, and the Memorial Foundation for Jewish Culture. She works independently and in collaboration.

Bob Gluck Biography
Bob Gluck is a composer and performer of music for live electronic music systems and interactive sound installation, and a historical writer. Gluck’s performances feature works for computer-assisted piano, shofar and electronics. His installation works include ‘Layered Histories,’ with Cynthia Rubin, (2004) and ‘Sounds of a Community’ (2001 – 2002). His work has been performed and shown throughout Europe and North America. His essays have been published in Leonardo Music Journal, Organized Sound, Journal SEAMUS, Leonardo, Living Music Journal, The Reconstructionist, Tav+, and the EMF Institute. His recordings include ‘Stories Heard and Retold’ (1998), ‘Electric Songs’ (2003) ‘Electric Brew’ (2007) and ‘Sideways’ (2008). Gluck’s musical training is from the Julliard, Manhattan, and Crane schools of Music, the State University of New York at Albany, and Rensselaer Polytechnic Institute. He is Associate Professor of Music and Director of the Electronic Music Studio at The University at Albany, and Associate Director at the Electronic Music Foundation.

Karen Reed, Journey, 2006, 4mins 45secs

Journey is a film made using a mobile phone, and was captured during a journey that was personally very difficult. Reed intended it to have a grainy surveillance like feel, referring to the pervasive influence of the technology used to capture the images/sound. The film explores fragments of time moved from one space into another, traces of where Reed has been and the ‘intersection of site’ where large scale becomes small scale.

Karen Reed Biography

Karen Reed is an emerging artist who graduated from Winchester School of Art and Design in 2005 with first class honours in Visual Art. She gained her Masters in Art by Project, in 2007. Her groundbreaking mobile phone video work has been exhibited in London, Southampton and New York. Recently she has been involved in an art exhibition for a large corporation.
Her work lies within the context of information society and considers theories of post structuralism, chaos theory and cultural studies. Mobile phones, the always on, anytime, anyplace ubiquitous technology permeates increasing levels of surveillance whilst questioning the shifting paradigms of what is public and what is private. They provide a reawakening and new sense of geography never fixed in one space; they enable to capture small trajectories of everyday life; they are no longer just ‘mobile devices’. Reed began by asking herself ‘how can this mobile phone technology be used within an art context?’ Collecting images, sounds and video clips mapping everyday trajectories the mobile becomes my artist’s sketchbook from which films, paintings and multimedia work has been produced. The work can be seen as a tracing the previous into the present all of which contain memory. The content of the work informed by personal histories, dreams, desires and anxieties here large scale becomes small scale. This residue is something that is left after en event and by editing and building new films the past and present is held in each piece. The real becomes unreal, an imaginary dream space. The in between of this process considers transition.

Joe Duffy, Block, 2007, 6mins

Block is a video piece concerned with the relationship of individuals to contemporary urban environment through the modernist architectural living spaces of an anonymous UK tower block. An observational gaze on social habitués implicates the viewer in a dialogue with surveillance, monitoring and spatial dynamics. The narrative space of the tower block is revealed through light movements as residents travel through its interior spaces, their habitats.

Notions of psychastenia, personality and space are explored through a phenomenological approach to lived experience. The grid like structure of social urban planning is investigated through the rhythmic patterns of lights signaling room occupation and human habitation. The light changes indicate movement paths and spatial usage that create an illusion of the tower block as an entity, the flickering lights as pulses with the residents reduced to signals and data, as reflected through the sound design. The relationship to politics and economic realities is displayed through evidence of material objects such as televisions and curtains but with little trace of subject matter. The patterns and data referencing point towards consumer monitoring. The block itself containing a complex weaving of personal histories, identities, subjectivities and relations hinted at by physical movements that transform the block into a fictive arena.

Joe Duffy Biography
Joe Duffy is a filmmaker, editor and educator working and living in Manchester, UK. His practice involves video, film and photography, with current process centred on moving image based works. Research interests include the investigation of technology relating to modes of motion and a positioning of the subject in a discourse that references art historical notions of romanticism, the sublime and non-place. Previous works have explored cultural automata, architectural space and narrativity. My work has been exhibited nationally and internationally in the context of film and media art festivals as well as gallery spaces. Joe Duffy also works with the artist collaboration, Birkbeck & Duffy.

Simon Woolham, Severed, 2008, 32secs; Deracinator, 2008, 33secs; The Isle, 2008, 30secs

Simon Woolham’s films focus on recurring motives that feature in his work, bringing to life a series of landscapes that are digitally manipulated and made to move. These scenes are then modified to show some minor action in repetitive motion. These subtle movements humorously draw attention to the miniscule, the enhanced sound of each action dramatizing life’s kinetic force.

Simon Woolham Biography

Since graduating from Chelsea College of Art with an M.A. in 2000 Woolham has had shows and residencies both nationally and internationally. His first show was at the Hoxton Distillery Gallery in London at the end of 2000. Group shows followed including Becks Futures student prize at the ICA, Pizza Express drawing prize, Oriel Mostyn 11, where he was the prizewinner in 2001, and other group shows in Belfast, Düsseldorf, Berlin and Madrid. Since then he has had solo shows at The Lowry Gallery, as well as emergency 05 at Aspex Gallery, Portsmouth and Perspectives 05 in Belfast.
In 2007/08 Woolham was The Museum of Garden History ‘Artist in Residence’ curated by Danielle Arnaud. He also had solo shows at BLOC space in Sheffield and Leicester City Art Gallery. For 2008 he has been commissioned by Animate and RSA Arts and Ecology, and making new site specific work for a project with Danielle Arnaud for the up and coming Tatton Park Biennial where his work will be ‘invading’ the formal gardens.

Psychological Narrative:

Hannu Karjailainen, Girl in a Red Sweater, 2006, 2mins

We are looking at an image of an empty park, foggy and dimly lit at night. A figure emerges from the shadows in the rear of the picture. Something or someone is sliding across the picture, we barely notice it from the shadows, and in the end it seems to dissolve into the grass before we can decide what we actually saw.

The central figure, the girl in a red sweater, remains unrecognizable for almost the whole duration of the work, leaving the viewer to speculate as to what is actually seen and whether there is a narrative to be found behind this strange scene.

Hannu Karjailainen Biography

Hannu Karjalainen is a Finnish artist currently living in Strasbourg, France. He graduated from the University of Industrial Arts Helsinki in 2005 majoring in photography and has since been showing his video installation work in solo and group exhibitions in Europe. This summer his work can be seen in Zürich (solo exhibition in Gallery Rotwand with Lovisa Ringborg), in Frankfurt (solo exhibition in Gallery Adler with Susanna Majuri) and in New York (group exhibition in Gallery Adler New York).
In UK Karjalainen has previously exhibited in Spike Island, Bristol, where he did a production residency in 2005-2006 and in Bath at the St. Michael’s Church as part of the contemporary art program of Bath Film Festival 2007. Other recent shows include a solo exhibition at Turku Art Museum in Finland and group shows in Kiasma Museum of Contemporary Art in Helsinki and Ecole des Beaux-Arts in Paris.

Anna Siebert, Der Hammer Ist Nichts An Sich, 2007/2008, 5 mins

The protagonist of Der Hammer Ist Nichts An Sich (A Hammer is Nothing in Itself) is a house being dismantled. Through its disappearance change comes to our consciousness: how do we react to change, cope with it and what takes place in the moments of transformation? The deconstruction of the house is reflected in the construction of the film. The building is slowly disintegrating: brick by brick it is taken apart, losing all traces of human presence, which are then – frame by frame – echoed and reflected in the film. We see decay, the disintegration of objects and the disappearance of human shelter and within that destruction we are able to imagine fragments of an intact place and its history. The process of the demolition contains principles of sculptural work such as taking apart, taking away, adding on to and (re)adjusting: deconstruction as creation is the leitmotif of this film.

Anna Siebert Biography
Originally from Berlin, Anna Siebert has recently gained a BA (Hons) in Fine Art at Southampton Solent University. Der Hammer Ist Nichts An Sich featured in the Hampshire Sculpture Trust Exhibition at the Winchester Gallery in May 2008.

Lucy Cash, Sight Reading, 2007, 9mins

Set in a room itself modelled on an old library, Sight Reading contains an imaginary re-enactment of an early Twentieth Century experiment into ‘eyeless sight’*. Opening up a territory between documentary and fiction, the film contemplates the act of ‘reading’ – both sound and image – through a carefully choreographed series of movements within and between frames. The soundtrack is a rendition of Erik Satie’s ‘Vexations’ – a three-line piece of music composed to be repeated over 14 or 28 hours by different pianists. Sight Reading was made as part of an Artsadmin bursary.

Lucy Cash Biography

Lucy Cash began her career as a filmmaker and artist in 2000, with a three minute commission from the BFI / FilmFour, (Three Minute Wonder) closely followed by a digital moving image commission from South East Dance, (it’s aching like birds). Her work draws on both fiction and documentary aiming to blur the line between the real and the imaginary, and pays close attention to the relationship between sound and image.

Originally trained in movement and performance, much of her work has been informed by a choreographic approach – considering choreography in many different forms (from abstract dance to public and private gestures). Her diverse background supports her interest in a range of different contexts. As well as single screen works, projects have included film/video installations in both gallery and site specific spaces as well as online. She has twice been a Visiting Artist at the School of the Art Institute of Chicago (for semesters in 2003 / 2005); and a collaboration with Goat Island performance company – Palimpsest – was included in the Tate Modern publication, Live – Art and Performance.
Her film and video work has been shown on television (Ch4, Filmfour, BBC4 and BBC2) and in over ten different countries – predominantly within Europe but also Australia, Japan, Brazil and the USA – in both galleries and at film festivals. Lucy is now an associate artist with Artsadmin.

Tina Gonsalves, Melancholia, 2008, 3mins 55secs

FEEL SERIES is a cinematic study exploring four emotional states. The series will become four, three minute films emerging from an established Art/Science research collaboration between emotion neuroscientist Dr Hugo Critchley, clinical hypnotist, David Oakley and artist Tina Gonsalves. Melancholia is the first from the series.

Emotions are part of our everyday. Over the last ten years the artist has explored the intimacies and vulnerabilities of human emotions through video, wearable technology, and interactivity and installation. The film uses hypnosis to create an emotionally potent sound track that becomes the foundation to each film. Under hypnosis, the artist is asked to re-experience potent emotional memories of her life. Using photography, digital and found video, the aim is to evocatively recreate/re-imagine these memories through moving image and sound. Through effects and edits the artist translates the emotional resonance of the event, with the re-enactment being somewhat more evocative, whimsical and poetic than the lived event. The memory becomes more amplified through colour, space and texture.

Tina Gonsalves Biography
For a decade, Gonsalves has explored the intimacies and vulnerabilities of human emotions, creating many short films, mixed media and installation works. She is currently working with world-leaders in psychology, emotion and social neuroscience and emotion computing in order to research and produce moving image artworks that respond to human emotions. She is currently honorary artist in resident at the Institute of Neurology at UCL in London, visiting artist at the Media Lab at The Massachusetts Institute of Technology in Boston, USA. Her work has exhibited/screened/awarded extensively internationally.

Sarah Pucill, Taking My Skin, 2006, 35mins

‘I’m not aware of you taking my skin’, says the artist’s mother to the camera as it zooms in on her eye as close as the lens will allow. Taking My Skin tracks a dialogue between the artist and her mother. Their exchange ranges from narrating the filming process ‘in the moment’ to relations in an earlier time – ‘how long do you think it takes for a child to become separate?’ Throughout the journey film spaces continuously dissolve and collapse only to separate again. Sometimes the artist is behind the camera, sometimes the mother, sometimes both simultaneously behind and in front, or neither. Both perform, film, and alternately instruct, position and direct the other. Formally and thematically, the film is an exploration of closeness, of synching, and the threat this poses to the self.

Sarah Pucill Biography

Sarah Pucill’s films have been screened at major international film festivals including: London Film Festival, Oberhausen Short Film Festival, Ann Arbor Film Festival, Osnabruck Media Arts Festival and Montreal Festival of New Cinema. Television broadcasts include: BSB TV Australia (Mirrored Measure, 1996; bought by BSB), Carlton Television (Backcomb, 1995; funded by Carlton), Granada TV (You Be Mother, 1990). Retrospective screenings have included the Tate and the Lux, in London and the Millennium Film in New York.

Taking My Skin was recipient of the Marion McMahon Award at the Images Festival in Toronto 2007 and was shown as part of ‘Mother Cuts: Experiments in Film, Video & Photography’ at New Jersey University Gallery in 2008 together with work by Mona Hatoum and Mary Kelly. Her retrospective screenings have included the Tate, the Lux, in London and the Millennium in New York.
Sarah Pucill lives and works in London and is Senior Lecturer at University of Westminster since 2000. Her work is distributed through Lux, The British Film Institute (BFI), British Council, New York Film-Makers’ Cooperative, Canyon Cinema, the Canadian Filmmakers Distribution Centre (CFMDC) and Light Cone Paris.

Joel Papps, 50 Interesting Facts, 2004, 8mins

50 Interesting Facts is a candid self-portrait made in the style of BBC Video Nations Diary. Through the reading of prepared autobiographical statements, chosen and spoken in random order, an intriguing juxtaposition of the mundane and the more sensational is revealed. The ordinary and the extraordinary are given equal importance, which results in a questioning of how a sense of identity is forged and how experience impacts it. Humorous and poignant at the same time, produced in a lo-fi manner to increase its sense of intimacy, this film explores the very personal in a way that everyone can relate to.

Joel Papps Biography
Joel Papps lives and works in Hampshire after graduating from Winchester School of Art in 2005. He has had numerous exhibitions across the South, including a solo show at ArtSway in 2007, after winning the ArtSway Open ’06 competition. Papps’ work employs sculpture and video as his primary medium that focuses on identity and experience, which in recent years has been centred on ideas of critical illness.

Kevin Pocock, Sanctuary, 2007, 3mins

Ged has lived in the same house in Manchester, England for 25 years. Here he talks openly and candidly about the contrast between living alone and sharing his house. With this film Pocock wanted to make something that was very direct and about a particular person and place. This is in contrast to most of his other painting, drawing and video work, which although drawing on personal experiences and memories, tends to be more contemplative and abstracted.

Kevin Pocock Biography

Kevin Pocock is fascinated by the thoughts, memories and dreams we carry with us each day. The ones that make us tick. He strives to incorporate the universal to represent the very personal. Private thoughts made public. The internal made external.

His work consists of paintings, drawings and video. Most pieces start as a very small, rough, spontaneous sketch. He often jots an idea down wherever he might be and later select from these to create a larger piece. This could be a painting on canvas but it could also be a film. The final work is very close in spirit to the original sketch. Pocock was brought up in Dorset, on the south coast of England. His memories of that landscape and coastline, together with his studies as an architect at Cambridge University, has helped form and direct his work. He seeks to mix the artistic with the technical; to try to achieve an effective simplicity. No more no less. A quiet contemplation. A private moment.

Jordan Baseman, Inside Man, 2007/2008, 8 minutes

Inside Man features Geoffrey Trendall, a con man and gangster: the Inside Man. We hear Geoff speaking about his criminal tendencies and sexual prowess as we watch a beautiful young woman dancing in a nightclub along with a small group of friends on the dance-floor. The enigmatic footage was originally shot in 1977 by Jonathan Guilbert and edited and directed by Jordan Baseman in 2007. Inside Man was made during a research fellowship at the Manchester Museum.

Jordan Baseman Biography
Jordan Baseman received a BFA from Tyler School of Art, Philadelphia, Pennsylvania and an MA from Goldsmith’s College, University of London. Baseman is currently the Reader in Time Based Media at Wimbledon College of Art, University of the Arts, London, and is also a Lecturer at the Royal College of Art Sculpture School. He has a long history of carrying out projects in collaboration with various public institutions. These have included residencies and commissions for: Arts Council England, Papworth Hospital (Heart and Lung Transplant Unit), Cambridge, The Science Museum, London, Dundee Contemporary Arts, Grizedale Arts, London Arts, Dundee Contemporary Arts, Camden Arts Centre, The Serpentine Gallery, Book Works, National Sculpture Factory (Cork, Ireland), British School at Rome, the Wellcome Trust, London, Monash University, (Melbourne Australia), University of Tasmania, (Hobart, Australia) and The London School of Hygiene and Tropical Medicine. Jordan Baseman has received grants from the Arts Humanities Research Council, the British Council, the Henry Moore Foundation, the Wellcome Trust, and London Arts Board.

Benjamin D Cooper, 11:59, 2008, 11mins 59secs

Benjamin D Cooper is a visual artist and filmmaker whose works explore the recurring themes of implied multiple narratives, the language and conventions of cinema, memory, history and travel. Working primarily in lens based media, his films, photographs and installations explore these themes, which ultimately are realized as psychological, poetic and emotive works. They draw attention to a need for narrative closure and resolution by creating a frustration on the viewer’s part and by setting up ambiguous situations that allow for multiple interpretations. They question and critique traditional narrative forms and structures, posing new and challenging ways of dealing with narrative.

Benjamin D Cooper Biography
Prior to 2003 Benjamin Cooper’s work was centred on creating and releasing music and sound design. After this he then went onto enrol in the foundation course at City College Brighton and Hove where he specialised in fine art and photography. He then went onto to study for a BA Fine Art degree at Central Saint Martins in London where he specialised in fine art 4D (time based media). A turning point within his studies at Central Saint Martins was when he attended a series of lectures given by Mark Broughton on the films of David Lynch. From that point onwards he tenaciously pursued his passion for film, video, narrative and cinematography, creating both art house films and video installations as well as continuing to use stills photography as a narrative medium. He is currently in pre production on his latest film ‘Exit Lines’ and is looking to further his studies on a masters course in the UK or USA.

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