Television Alchemy: Transceiver of Chaos (2022)
TV altar installation as shown at Goldsmiths, 2022. Candles, LED candles, glass, crystals, roses, ceramic, shells, metal, multi-format video, converted to digital, manipulated through video synths. 5 mins (approx.), [excerpt].
In this altar arrangement, Chaos is reified through television screens. As a familiar household object, its relative ease at orientating human consciousness facilitates an encounter with an occult Other. Television Alchemy: Transceiver of Chaos explores the notion of glitch as transmission, an unfoldment from the implicate order that interrupts our reality as sensation through composite video synthesis.
The video works Suminagashi (2020), Dream Sequence (2022) and Waiting For God [Cut Up] (2021) are presented in this configuration.
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Suminagashi (2020) explores the liquid materiality of television using the meditative marbling technique from Japan. The passive orientation we have towards television correlates with esoteric notions of water – of being receptive, but also of intuition, spiritual knowledge, and emotions. Traits of the divine feminine that are repressed in modern society.
Composite video manipulated through video synths, digitised. 05:48 mins (excerpt).
Dream Sequence (2022) is a multi-format video of temporal displacements, in an amalgamation of found super 8 film, composite video synthesis and the digital. The obsolete time jumps through a series of conversions, from analogue, to composite, to HDMI and back again, in a dynamic anachronism that resists linear progress and the logic of modernity.
Multi-format video, manipulated through video synths, digitised. 02:40 mins.
Waiting For God [Cut Up] (2021) is a channel surfing experiment using the ‘cut-up’ method of William S. Burroughs and Brion Gysin. Using a touchpad video synthesiser, the artist’s hand passes through a virtual threshold and touches the analogue signal.
Composite video, manipulated through video synths, digitised. 05:07 mins.
