Phil Collins is nominated for solo exhibitions at Milton Keynes Gallery, Tanya Bonakdar Gallery, New York, and his presentation in British Art Show 6 in which he showed engaging photographic and video installations involving diverse social groups. By instigating unpredictable situations, he encourages people to reveal their individuality, making the personal public with sensitivity and generosity.

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  • Phil Collins Shady Lane Productions

    Phil Collins 
    Shady Lane Productions 2006
    Photo from Turner Prize 2006 exhibition at Tate Britain.

    Photo: Sam Drake and Mark Heathcote 
    © Tate 2006

  • Phil Collins  Shady Lane Productions

    Phil Collins 
    Shady Lane Productions 2006
    Photo from Turner Prize 2006 exhibition at Tate Britain. 

    Photo: Sam Drake and Mark Heathcote 
    © Tate 2006

  • Phil Collins the return of the real / gercegin geri donusu 2005

    Phil Collins
    the return of the real / gercegin geri donusu 2005
    Photo from Turner Prize 2006 exhibition at Tate Britain

    Photo: Sam Drake and Mark Heathcote 
    © Tate 2006

  • Phil Collins  baghdad screentests 2002

    Phil Collins 
    baghdad screentests 2002

    Courtesy Kerlin Gallery

  • Phil Collins, 'they shoot horses' 2004

    Phil Collins
    they shoot horses 2004
    Two screen video projection and audio track
    duration: 7 hours overall display dimensions variable
    Purchased with funds provided by the Film and Video Special Acquisitions Fund 2004 Phil Collins, courtesy Kerlin Gallery, Dublin

    View the main page for this artwork

  • Photograph of Phil Collins

    Phil Collins

Phil Collins’s work

Phil Collins’s art investigates our ambivalent relationship with the camera as both an instrument of attraction and manipulation, of revelation and shame. He often operates within forms of low-budget television and reportage-style documentary to address the discrepancy between reality and its representations. In his projects, Collins creates unpredictable situations and his irreverent and intimate engagement with his subjects – a process he describes as ‘a cycle of no redemption’ – is as important for his practice as the final presentation in the gallery.

For the return of the real / gercegin geri donusu 2005, originally commissioned by the 9th Istanbul Biennial, Collins invited people who felt their lives had been ruined by appearing on talk-shows and makeover shows to tell their extraordinary stories at a press conference. Furthermore, Collins hired a director of a Turkish reality TV show to conduct hour-long interviews with the participants. By putting these individuals under scrutiny once again, Collins makes the ethics of further exploitation one of the main subjects of the piece. 

A new work conceived for the Turner Prize examines the relationship between the production of art and its wider social context by recognising and utilising the mechanism of the Turner Prize itself as a media spectacle. Over the course of the exhibition, a fully functioning office, shady lane productions 2006, will research and organise a set of projects exploring the influence that the camera exerts on the behaviour it seeks to record, beginning with a British episode of the return of the real.

Visit the shady lane productions site.