In Sample and Hold Eloise Hawser presents video footage of her father being scanned in the round alongside the animation generated through the process. Referring to the end result as ‘dad skin’, Hawser has created a forensically accurate yet emotionally disconnected map of her father’s body with the potential for infinite reproduction. 100 Kev compresses a truck and its contents, X-rayed at a border crossing, into an emblem of conveyance.
Katrina Palmer uses storytelling as a vehicle to manifest intensely visceral scenarios in the mind’s eye, like a form of virtual sculpture. Set on the Isle of Portland, Dorset, a landscape shaped and distorted by the extraction of Portland stone, The Quarryman’s Daughters brings its characters into a heightened engagement with their material surroundings, pitching flesh against rock.
Intense interactions with objects at close proximity also feature in Charlotte Prodger’s installation. She finds moments of intimacy within the vastness of internet space: from the rhythmic prehistoric action of flintknapping in a ripped youtube video posted by blogger paleomanjim to a description of Dennis Oppenheim’s 1970 film Compression - Fern – taken from the Elecronic Arts Intermix website – in which the artist crushes the plant in front of his face.
In Yuri Pattison’s co-location, time displacement the camera explores the subterranean, unpeopled interior of a former civil defence centre in Stockholm, now used to house a datacentre run by an Internet Service Provider. Pattison grounds the internet in a physical place but adds a further layer of displacement through the display of online postings by John Titor, who claims to be a time traveller from the year 2036 sent back to the year 1975 in order to retrieve outdated hardware needed to debug computer programs from his own era.