2021

 
Still from Modernity / Power
Video, 12.50 mins
Made from appropriated backstage musical Hollywood films made between 1929 and 1940, Modernity / Power reframes latent power dynamics on the screen through text interventions and foley sound–clips, clicks, clapping, tap-dancing, and breathing. These disruptions draw attention to the labour of the bodies performing and their incredible skills.

Pose and Shadow, Alexandra Danilova
Watercolour on A4 watercolour (300gsm) paper (210 x 297 mm)

2014

 
Theatre Flats, 2014
Blueback paper photographs mounted onto MDF, freestanding in space
Dimensions approx 2 m x 1 m
Tap Performance-7292 72
Tap Performance for Gallery with Many Dancers, 2014 
Performance 4 mins
Three Act Structures, S1 Artspace, Sheffield
Hollywood Forever, 2014
Video, 3 mins
The Mucky Bits, 2014
Online gallery of photographs taken of book pages

My contribution to Sharon Kivland’s Library Interventions at Leeds College of Art.  I rifled through books searching only the racy and erotic pictures and photographing them–always with Sharon’s titillation in mind.
Ginette Vrala / Socialist Red / Neoliberal Pink, 2014
Half-tone screenprint on Keykolour Original Snow White 300gsm paper,
35cm x 50cm, framed dimensions 49cm x 64cm
Edition of 50
Help Me Pose, 2014
One-to-one performance, 4 mins
Wrought, Sheffield  
May 012014
 

I instigated a video show collaboratively curated with Megan Cotts, Alexis Hudgins, Ali Prosch & Brica Wilcox shown at SIA Gallery in May.  The show featured ten video works by Alison J Carr, Alexis Hudgins, Ivan Iannoli, Julie Orser & Jon Irving, Ali Prosch, Elleni Sclaventis, Matt Siegle, amy von harrington, Brica Wilcox, that respond to the provocation of Hollywood Forever: the dream, the film industry, the cemetery on Santa Monica Boulevard.  Each takes a different approach to Hollywood—from considering the myth, the geography, the surplus of images it gives us, the imperative to perform, the seduction and the make-believe.

More information about the project Hollywood Forever Bios.

image credit Julie Orser & Jon Irving, from The Viewer

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