VIDA 000 TRIPLE VISION 000 IGNITION FILMS 000 THE PRESENT 000 A HISTORY OF MY PROJECTS

As I've said in other places, I'm not keen on histories of Video Art for various reasons, one of which is that there is a fair chance that the work that was promoted in the individual history was not that influential at the time (due to the vested interests within the writing many of these monographs). The simple test is to view that work, not just read the text's about it which often obfuscate the work through mock theory. Also, most people mentioned in those histories have stopped working - I have not and shall not and in fact this may be my most fertile period. Certainly, with a concentration on Installation work, my work is now recieving an audience greater than it was before. I calculate around 50000 people have sat at the 'table' that is the key part of In Other People's Skins and I have the extraordinary honour, having had this work partially being inspired by Da Vinc's Last Supper, of having my installation shown at the Curch of Santa Maria delle Grazie, where Leondao's painting is kept (it's on the refectory wall there). This happens in Autumn 2009. Whereas Prisoners (1984) or The World Within Us (1987) might be said to be my signature piece of the 80's, In Other People's Skins is the signature piece of the 2000's.

Go here for upcoming exhibitions

You'll probably have noted the prevalence of cameras in some of the pictures I am using (in this case the Red One). I suppose I have placed value on the artist knowing their medium and their tools. Here I use a picture like this next to the work itself as both are important to my mind. I am currently the AHRC Creative Research Fellow in High Resolution Imaging at Bristol University so I am investigating resolution but simply follow the links to see what is concerning me now. Art

IN OTHER PEOPLE'S SKINS 000BLINK 000THE IMAGINISTS 000IN OTHER PEOPLE'S SKINS WEBSITE

CINEMATOGRAPHY 000ACADEMIC PROJECTS