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A delicate and silent animation. It suggests an inebriate mental state in which foreground and background blend in almost undifferentiated fashion. The poem articulates the fleeting apparitions of the words from within themselves, as if one word

Whenever the inequitable distribution of resources crosses into territories once thought impossible, Critical Art Ensemble (CAE) has responded with a public party to highlight the achievements of various oligarchies and plutocracies in a manner that

This piece is about a personal memory from my hometown, the small city of Heidenheim in the rural south of Germany. My favourite intersection is located on Schnaitheimer Straße, at the top where the old customs office is situated. One day the

The video of this work was captured in a field outside of Oregon, Wisconsin using a Mavic 2 Pro drone. The two trees in this piece have for years been a source of delight when entering into the town of Oregon while visiting my daughter. I had

The Time Machine that is Landscape brings together sound, video and paint in unison to bring the sensorial delight of the Cornish landscape to life. Julie Freeman’s environmental field recordings are embedded within, behind and around Robert

In 1993 a new videodisc-based version of Going to the Heart of the Centre of The Garden of Delights (1986) was made. No longer related to a particular architectural context, the viewer walks along a path marked by blue lights towards a large video

I Love Yr GIF is a project based on the culture of the first wave of net art, produced entirely with animated gifs taken from personal collections such as of Jimpunk, Marisa Olson and Superbad. Inspired by the iPad zooming features, here the low

Immersive film, specially designed for a fulldome environment. Multiple 3D landscapes modulated by female voices. The physical absence of the performers is materialized here by the pairing of the spatialization of their litanies to the movement of

Immersive film, specially designed for a fulldome environment. Multiple 3D landscapes modulated by female voices. The physical absence of the performers is materialized here by the pairing of the spatialization of their litanies to the movement of