Turning Point

The new exhibition at the Sayle Gallery in Douglas, marks an important stage in the Gallery’s development. It will not only bring in the work of significant artists from the contemporary art world beyond our Island's shores but it will also mark a turning point for the gallery as it embarks on a journey in a new direction. The exhibition showcases the work of five artists with international recognition including Turner Prize winner, Mark Wallinger. This will be the first time a Turner Prize winner has shown work on the Isle of Man. The exhibition brings together works that question what it is to live on an Island; issues of home; rites of passage; isolation; aspiration; boundaries … It explores different relationships that we have with the sea, coastline and Island Culture. Besides Mark Wallinger: Manxman and artist, Kevin Atherton; Keith McIntyre, Head of Art at the University of Northumbria; Susan Collins, Professor of Art at the Slade School of Fine Art, London, and artist Shona Illingworth have contributed artwork to the show. The exhibition has been curated by Helen Fox, Programme Manager for Art, Design and Media at the University College, Isle of Man, in collaboration with the Sayle Gallery. Helen’s curation of the show forms part of her research project which looks at what kind of frameworks we need for the visibility of contemporary art practice in an Island context? How are artists affected by the communities they make work in and how that community responds to that work? All the exhibiting artists use ‘new media’ in the production of their work and as a result the show is almost entirely digital.

LAND

In October 2016 a network camera was installed on Mount Scopus in Jerusalem looking east across the West Bank towards the Jordanian Mountains. The camera constructed images pixel by pixel, line by line from the top left to the bottom right hand corner of the frame so that each completed image represents just over twelve hours of time. The camera remained in situ until April 2017, recording the the seasons, and the weather, over a six month period. LAND is the latest in a series of works which construct images from remote landscapes over time, and the first in the series to be located outside the UK. Located in Israel, the camera looks East from Jerusalem towards the Jordanian Mountains across a deeply historic, biblical and complicated landscape that has been written about and referenced over millennia. The twelve hour timeframe for each image is intended to loosely refer to Halachic time, which divides the daylight portion of the day into twelve equal hours’. Images from LAND were saved at regular intervals, which form a stills based archive of the work. The work was presented as a live updating image at Tel Aviv Artists Studio Gallery from 14 January – 18 February 2017 along with a series of prints from the work.

Essex Road III

I was commissioned to make a short animated film, Wild Life, for this group screening exhibition. Now in its third year, Tintype’s Essex Road invites eight artists to each make a short film connected to the mile-long north London street. The gallery window, on a busy corner in Essex Road, becomes a public screen for six weeks over Christmas and New Year. The films are back-projected into the window on a loop from dusk until late.

Technology is not Neutral

Prints from Fenlandia (2004-5) and moving images from Wembury & Woolacombe (2015-6) are included in this group exhibition, curated by Gordana Novakovic, Anna Dumitriu and Irini Papadimitriou/Watermans. The exhibition features existing and newly commissioned work by leading pioneering and contemporary female digital artists, such as Ghislaine Boddington, Susan Collins, Laura Dekker, Anna Dumitriu, Bhavani Esapathi, Julie Freeman, Kate Genevieve, Sue Gollifer, Luciana Haill, Nina Kov, and Gordana Novakovic. More information at http://www.phoenixbrighton.org/events/digital-women-2/; https://www.watermans.org.uk/events/technology-is-not-neutral/ and http://technologyisnotneutral.com/ Supported using public funding by Arts Council England. In partnership with The Computer Arts Society, UCL Department of Computer Science, Women Shift Digital and Phoenix Brighton.

Technology is not Neutral

Prints from Fenlandia (2004-5) and moving images from Wembury & Woolacombe (2015-6) are included in this group exhibition, curated by Gordana Novakovic, Anna Dumitriu and Irini Papadimitriou/Watermans. The exhibition features existing and newly commissioned work by leading pioneering and contemporary female digital artists, such as Ghislaine Boddington, Susan Collins, Laura Dekker, Anna Dumitriu, Bhavani Esapathi, Julie Freeman, Kate Genevieve, Sue Gollifer, Luciana Haill, Nina Kov, and Gordana Novakovic. More information at http://www.phoenixbrighton.org/events/digital-women-2/; https://www.watermans.org.uk/events/technology-is-not-neutral/ and http://technologyisnotneutral.com/ Supported using public funding by Arts Council England. In partnership with The Computer Arts Society, UCL Department of Computer Science, Women Shift Digital and Phoenix Brighton.

Whatever the Weather

"RAMM’s major winter exhibition explores a theme which affects all our lives: the weather. Or more accurately, how weather seems to be constantly changeable, occasionally extreme and always unpredictable. Through a lively mix of historical paintings and prints, artefacts, archives and the work of contemporary artists, the exhibition exposes humanity’s relationship to the elements. It draws on the collections of the Met Office, National Trust, Arts Council Collection and Royal Meteorological Society and RAMM’s own collections."

Whatever The Weather

Exhibited Wembury & Woolacombe, a new pixel landscape piece, which was specially commissioned for the exhibition. Whatever The Weather was RAMM’s major winter exhibition exploring how weather seems to be constantly changeable, occasionally extreme and always unpredictable. Through a mix of historical paintings and prints, artefacts, archives and the work of contemporary artists, the exhibition exposed humanity’s relationship to the elements. It drew on the collections of the Met Office, National Trust, Arts Council Collection and Royal Meteorological Society and RAMM’s own collections. The show included rain gods from the Americas, paintings by William Blake and Samuel Palmer, stormy seascapes and ships in distress, private weather diaries, weathervanes, barometers, thermometers and a wide range of recording instruments. Also Admiral Fitzroy’s first ever weather forecast issued by the Met Office in 1861 and Beaufort’s original table of wind strength (the Beaufort Scale) dating to 1810. In response to the historical material, RAMM commissioned Wembury & Woolacombe as a centrepiece for the exhibition alongside existing works by other contemporary artists including Simon Faithfull and Julian Grater. In developing the exhibition and events programme, RAMM worked closely with the Met Office and the National Trust.

The Small Infinite

Mark Amerika, Elif Ayter, Bill Balaskas, Bronwen Buckeridge, Sophie Clements, Susan Collins, Max Eastley, Tim Head, Henriette Heise, Chris Henschke, John Latham, Mark Lewis, Karl Lemieux, Patrick Pound, Charlie Sofo and Paul Thomas The world of today functions at the most extreme of scales, from big data and the endless expanse of the digital realm to global capital and consumption. In stark contrast, The Small Infinite celebrates the strength and endurance of the minuscule. Rejecting the current trend for grandiose gestures, the show reflects upon a world where worth and value are often represented through the most disproportionate of terms. The Small Infinite unites a diverse collection of international artists whose work focuses on more intimate perceptions of reality, ranging from photography and works on paper to sculpture, video installation and digital interventions. The exhibition explores the theme of the infinitesimally small through a range of fine art practices as diverse as particle physics, the economic crisis, utopianism, hacking, virtual worlds and the materiality of film. A key feature is the inclusion of works from the series One Second Drawings by British artist John Latham (1921-2006), which act as the exhibition’s gravitational centre. The Small Infinite returns us to a sense of humanity through discrete perceptual experiences that reject the spectacular, revealing profundity within the unseen, the intimate and the fragile. The exhibition serves to remind us that, under the hammer-blows of life and time, what endures is the small. The Small Infinite is a John Hansard Gallery exhibition curated by Lanfranco Aceti with Vince Dziekan, in partnership with Winchester School of Art.

Bodies of Water

Programme of artists’ moving image for The Power of the Sea exhibition at the Royal West of England Academy, Bristol, UK from 5 April to 6 July 2014. It was subsequently also presented at a research event at Plymouth University, on Wednesday 11 February 2015, presented jointly by the Land/Water and the Visual Arts and Moving Image Arts (MIA) research groups. The screening was followed by a discussion led by Nick Higgs, Postdoctoral Research Fellow, Marine Institute, Plymouth University.

The Negligent Eye

Cory Arcangel, Christiane Baumgartner, Thomas Bewick, Jyll Bradley, Maurice Carlin, Helen Chadwick, Susan Collins, Conroy/Sanderson, Nicky Coutts, Elizabeth Gossling, Beatrice Haines, Juneau Projects, Laura Maloney, Bob Matthews, London Fieldworks (with the participation of Gustav Metzger), Marilène Oliver, Flora Parrott, South Atlantic Souvenirs, Imogen Stidworthy, Jo Stockham, Wolfgang Tillmans, Alessa Tinne, Michael Wegerer, Rachel Whiteread, Jane and Louise Wilson. While printmaking has long embraced the digital, there has been a recent acceleration of interest by a younger generation of artists in approaching technology more critically. The Negligent Eye reflects this increasing experimentation with computers, rapid-form and 3D scanning and digital multiplication, through printed, sculptural, video and mixed media work, as well as earlier artworks using reprographic processes, and archival material. Curated by Jo Stockham, who has researched how over-immersion in the space of the computer creates a sense of estrangement from the world, the exhibition engages with wider questions around the impact of digital technology on our lives. How, for instance, are scanning technologies changing how we picture and experience the world? The barcode, airport body scanners, medical scans and document scanners are all fraught with notions of both revelation and theft, while the extension of digital multiplication into cloning remains contentious.

Selected Animated Photography Films

A programme of short animated films from the Animate Collection that use or reference photography and the hyperreal. Curated and introduced by Gary Thomas, Associate Director of Animate Projects from the Animate Collection.

Brighter Later

The historic Radcliffe Observatory, Green Templeton College, was transformed into a beacon, lit up from the inside, a temporary light installation as part of Oxford's Christmas Light Festival 2013. The interior of the Observatory Tower Room was lit from dusk until midnight each night, becoming a lantern visible across Oxford. Collins took her cue from the origins of the Observatory and its architecture, which is based on the Tower of the Winds in Athens. The installation was informed by the Observatory's prominent role in the history of astronomy and meteorological recording. Although the Observatory is no longer a working astronomical observatory, The Radcliffe weather station in the College gardens is still monitored daily by colleagues in the Department of Geography. The light show responded in real time to nature, the wind and the elements, with the weather measuring system currently in use driving the light show, linking it very specifically with the north Oxford location. Weather variables - such as temperature, pressure, rainfall and wind - drove the colour and brightness fluctuations of the light, transmitting and revealing changes through rapid and smooth transitions. The title of the Radcliffe Observatory light installation is taken from the Nick Drake track and album Bryter Layter and is an oblique reference both to weather forecasting, and the Light festival itself. The installation is part of the Radcliffe Observatory Quarter Public Art Programme commissioned by the University of Oxford and curated by Modus Operandi. It has been funded by the University of Oxford and supported using Culture funding from Oxford City Council.

It's About Time

A group show in ASC Gallery, London curated by Christina Niederberger and Paul Carey-Kent.

Arte y Óptica

Glenlandia was included in “Art and optics: The Speed of Communication” an international group exhibition curated by Sean Cubitt.

Possession

“7 Days in June” a 10.5m long, floor based print work from my Seascape Series is included in this international group exhibition curated by Brian Curtin and Steve Dutton.

Inter Sections: Science in Contemporary Art

This exhibition at the David Lopatie Conference Centre at the Weizmann Institute of Science explores the meeting points between science and art. Curated by Cathy Wills 60 works by 34 artists from around the world have been included; each investigates various aspects of science, theory and technology: genetics, alternative energy, research into the nature of the universe and more. The artists: Roger Ackling, Maya Attoun, Edward Burtynsky, Daniel Canogar, Susan Collins, Mat Collishaw, Susan Derges, Jacqueline Donachie, Garry Fabian Millar, Spencer Finch, Jem Finer, Peter Fraser, Ori Gersht, Scarlett Hooft-Graafland, Barnaby Hosking, Walter Hugo, Luke Jerram, Eduardo Kac, Lilliane Lijn, Alastair Mackie, Edgar Martins, Anne-Mie Melis, Vincent Mock, David Rickard, Michal Rovner, Karen Russo, Tomer Sapir, Tomas Saraceno, Conrad Shawcross, Suzanne Treister, Troika, Alison Turnbull, Clara Ursitti, Jorinde Voigt and Douglas White.

Seascape

A solo show of prints from the Seascape archive are showing in Hamburg at Osterwalder’s Art Office

Welcome to the Treasuredome

Love Brid has been included in ‘Welcome to the Treasuredome’, an Artists’ moving image festival at ICCI 360 curated by Stuart Moore and Kayla Parker on behalf of ICCI (Innovation for the Creative and Cultural Industries) with Plymouth University; part of Maritime Mix – London 2012 Cultural Olympiad by the Sea programme, Weymouth.

Medieval Harewood

Excavation (part I), installed in All Saints Church, is a film sequence, projected on to the floor, showing an archaeologist’s hand gouging earth with a trowel during the excavation of Gawthorpe Hall the original Medieval manor house at Harewood. This work was commissioned by Harewood House and made in response to the Medieval Harewood season and exhibition. A second work also called Excavation (part 2) is a short moving image photographic ‘portrait’ exploring Medieval Harewood through its landscape.

Move on Up

Love Brid has been included in an Animate Projects programme of films, Move on Up, screening at Canary Wharf Station from June to August 2012. The Move on Up programme is a selection from the Animate Collection of dynamic, exciting, uplifting, provocative and beautiful films made by animation artists in the UK over last 20 years. Artists include Run Wrake, Stuart Hilton, Susan Collins, Andrew Kötting and Semiconductor.

Born in 1987: The Animated GIF

An Animated GIF from the opening sequence of Love Brid was screened on ‘The Wall’ as part of its inaugural programme at The Photographers’ Gallery. ‘The Wall’ is a flat screen video wall hosting the Gallery’s digital programme. ‘Born in 1987: The Animated GIF’, is its first exhibition. The gallery invited contributions from a range of practitioners resulting in over 40 animated GIFs which were joined later in the exhibition by contributions from members of the public.

Found Footage: Whitechapel

‘Found Footage: Whitechapel’ is the latest in a series of animated works constructed entirely from still digital photographs, which play on the relationship between the still and moving image. The others in the series include ‘Love Brid’ (2009), a short film commissioned by Animate Projects, and ‘Found Footage: Bangkok’ for an exhibition at BU Gallery, Bangkok, Thailand (2010). For ‘Found Footage: Whitechapel’, Susan Collins photographed over 10,000 images around Shoreditch, Whitechapel and Stepney over a few days in July 2011. The title refers to the ‘found’ subjects which Collins came across, framed and captured with her camera.

Transitio_MX 04: Collateral Affections

Collateral Affections is the theme for the 4th edition of this International New Media Art and Video Festival which included this large scale exhibition.

Uncontainable: Broken Stillness

The subtle, beautiful and hypnotic works in Broken Stillness use digital practices to examine the border where well-established forms of image-making, especially painting and photography, meet the possibilities offered by new technologies. Through animation, motion capture, modelling software and other processes the artists generate unexpected interpretations of landscape and portraiture traditions. Slowly moving and shifting, their works reveal the constructed nature of images, highlighting our expectations about both static pictures and the hyper-speed of the digital environment. The exhibited works display the materiality of the digital or photographic image while challenging images that are frequently regarded as ‘true’ representations. Uncontainable: Broken Stillness is an exhibition supported as part of ISEA 2011 Istanbul and is also part of the Official Parallel Program of the 12th Istanbul Biennial.

Songs of The Sea

Through artists’ work, archive ships’ logs and sound recordings, the exhibition explores the sea as a metaphor for storytelling. Other artists include Laura Belem and Richard Marquis.

Time Landscapes

Time Landscapes is an exhibition of online work curated by Beryl Graham for Electronic Village Galleries: New media is often assumed to be the antithesis of all that is rural or natural – a quick and shallow ‘virtual reality’ for city slickers, which doesn’t even approach feeling the sea spray on your face, or just ‘being there’. Yet, there many layers of artificiality and man-made intervention lurking in the landscape – is that coastline restricted by the military? Is that woodland ancient semi-natural, or carefully sculpted for clients owning a country estate? Are those seaside watercolours and those photographs of farmhouse Bed and Breakfasts carefully editing out any sign of modern functionality, such as the electricity pylons? When it comes to art, new media artists still have a strong interest in landscape, and are able to use the characteristics of new media to reveal different layers of reality. This includes those layers which are not visible to the naked eye, and might be expressed as data – for example layers of numbers concerning invisible pollution, appearing as the glitches in landscape images. The connected nature and global reach of the internet also enables the artists here to play with time and space: Pollution is monitored live in real time; from a village in Cornwall, you can see the temperatures in all corners of the globe, right at that moment. Being ‘live on the internet’ does not of course always mean huge speed: these Harewood landscapes are drawn more slowly than a watercolour, and the contemplation of Pico Mirador national park unfolds to the leisurely pace of webcam refresh rates. Take a seat at a screen, and contemplate the sublime mass of data that is the internet … Electronic Village Galleries is a pilot project developed by Kate Southworth for distributed local and village sites in rural Cornwall.

Broken Stillness

The subtle, beautiful and hypnotic works in Broken Stillness use digital practices to examine the border where well-established forms of image-making, especially painting and photography, meet the possibilities offered by new technologies. Through animation, motion capture, modelling software and other processes the artists generate unexpected interpretations of landscape and portraiture traditions. Slowly moving and shifting, their works reveal the constructed nature of images, highlighting our expectations about both static pictures and the hyper-speed of the digital environment. The exhibited works display the materiality of the digital or photographic image while challenging images that are frequently regarded as ‘true’ representations.

Several Interruptions: 15 Years of the Slade Centre for Electronic Media in Fine Art

Seven, sequential solo presentations to celebrate 15 years of the Slade Centre for Electronic Media in Fine Art in 2011. One work exhibited: 'Each Long Second' 2006, (880 x 850 cms, A0 photocopies, tape) a double-sided paper representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space.

Under The Same Sky

A two person exhibition of work coming out of Tuksina Piptkul’s residency in the UK and Susan Collins’s residency in Thailand as ASEM DUO Thailand 2010 exchange fellows. Both artists work with similar subjects: landscape, sky, sea from very different perspectives. ‘Under the Same Sky’ takes its inspiration from the landscape, cityscape, sky and sea of Thailand and England and creatively explores these two different approaches, processes, artists and places.

Twenty One

In 1989 the Terrace Gallery was established at Harewood House, the first dedicated contemporary art space in the setting of a country house. To celebrate its 21st anniversary Harewood have invited 21 artists who have exhibited there to respond to the collections, throwing new light on objects, themes and locations selected by them across the House and Gardens. Artists are: Norman Ackroyd, Sutapa Biswas, Sonia Boyce, Jason Brooks, Thomas A. Clark, Maurice Cockrill, Susan Collins, Kate Davis, Mark Fairnington, Leo Fitzmaurice, Laura Ford, David Hockney, Sophie Lascelles, Sea Hyun Lee, Neeta Madahar, Ian McKeever, Peter Mitchell, Eleanor Moreton, Paul Rooney, Mark Wallinger, Simon Warner

Common Links

Common Links, an exhibition organised as part of the 10th Anniversary of the re-opening of Greenham Common since its military occupation during the cold war period. The exhibition includes work that spans a ten year period from 2000 to 2010 and contains work by artists who have been inspired by Greenham Common and/or its history. It includes a print from the version of Fenlandia where a webcam was placed on Venture West, the former Greenham Common Command Centre sited at New Greenham Park.

Printmaking: A Contemporary Perspective

An exhibition to celebrate the release of Printmaking: A Contemporary Perspective, by Paul Coldwell and published by Black Dog Publishing. The work exhibited represnted some of the diverse and complex techniques explored in the book, from linocut, to screenprinting, etching and the latest digital printmaking technologies. Artists: Norman Ackroyd, Christiane Baumgartner, Paul Coldwell, Susan Collins, Michael Craig-Martin, Robin Duttson, Richard Hamilton, Andrzej Jackowski, Julian Opie, Antoni Tapies, Joe Tilson, Rachel Whiteread and Katsutoshi Yuasa.

Animate TV

An eclectic selection of films commissioned and produced by Animate Projects over the past year presented in a 60 minute screening in the Starr Auditorium at Tate Modern.

Channel

SHIFT 2009, Electronic Arts Festival

The Exhibition at Shift 09 presents artistic projects that address in various ways the nexus and interface of magic and technology: the ghosts that manifest as flaws in technical equipment and other facets of the spectrum of extrasensory perception; modern-day magic wands, tricks and tricksters; programme codes as incantation and centuries-old rituals in the media age.

Multiplicity – From Faim de siècle to Polymorchive

Landscape 2.0

KURS:SØEN

Town and Country

Town and Country is a collaboration between Project Space Leeds and Harewood House Trust exploring issues around the urban and the rural based on the relationship between the two sites and notions of migration. A group show of 6 artists, Susan Collins’ contribution, Harewood, shows images of Harewood’s ‘Capability’ Brown landscape filmed on a webcam over the course of a year. The live footage shown at PSL plays on parallels between the mechanically composed digital image and the formally constructed landscape.

Komm, wir gehen in den Wald!

Seascape

Susan Collins and Tim Head: Slow Fields

Through their parallel working practices Tim Head and Susan Collins explore the properties of digital media in distinct and inventive ways. Susan Collins' recent work employs transmission, networking and time as primary materials creating digital representations of landscape where each pixel represents a unit of time. Tim Head bypasses image as representation by using solely the prime physical elements of the medium to form the work. For Tim Head, the elusive and contrary nature of the digital medium and its unsettled relationship with both ourselves and with the physical world forms the basis for recent work. Computer programs are written to generate unique events in ‘real time’ on screens, projections and inkjet prints that focus on the intrinsic properties of these digital media. The programs operate at the primary scale of the medium’s smallest visual element (the pixel or inkjet dot) by treating each element as a separate individual entity. The medium is no longer transparent but opaque. Susan Collins' gradually unfolding, classically romantic landscape images are harvested and archived over the course of the year. They encode the landscape over time, with different tonal horizontal bands recording fluctuations in light and movement throughout the day and with broad bands of black depicting night-time. Stray pixels appear in the image where the moon passes through or a bird, person, car or other unidentifiable object passes in front of the webcam as the pixel is captured. The work is intended to be slow, a reflection on the ever increasing speeds we demand from the internet. Poised between the still and the moving image, the lens and the pixel, the prints explore how images can be coded and decoded using both light and time as building blocks for the work. Slow Fields is the first time these two bodies of work will be shown together.

Travelogue

artists include Anna Barham, Susan Collins, Nadine Feinson, Joan Key, Charlotte Moth Curated by Sotiris Kyriacou

Work and Play

The exhibition Work & Play explores Harewood House and its estate in the wider landscape. Prints from Susan Collins' new Harewood series will be on display alongside other images of Harewood including watercolours, architectural plans, historic maps and photographs from the 18th, 19th and 20th centuries.

Bow Quarter Art Annual

Multiplicities

Chaser

One of a series of contemporary artworks and illuminations commissioned for the GLOW ‘07 festival Newcastle Gateshead. Chaser transforms the top windows of the Tyne Bridge Tower in Gateshead into a rapidly moving light circuit of intense colour. Visible across the river Tyne in Newcastle, Gateshead and beyond, the animation will continually ‘chase’ around the building as the colours gradually shift over time. Tuesday 4 – Monday 17 December 2007

The Nature of Systems (screening)

Technological systems create, fragment and transform landscapes: a long video monitor stream, digitally mutated coastlines and strange urban microclimates introduce fascinating artificial worlds, blurring the boundaries between natural and constructed landscapes. Starting with documentation of Chris Meigh-Andrews’ video installation Stream Line and passing through a variety of spellbinding single-screen film and video environments, the programme finishes with a presentation of Susan Collins’ internet transmitted, real-time reconstruction of Loch Faskally in Perthshire, Glenlandia.

Video Vortex

WEBSCAPE - Art in The Virtual Landscape

Outlook Express(ed)

Place Memory (screening), Site 07 festival

Committed To Print

Exhibition of Contemporary Printmaking showcasing recent innovative developments and international collaborations. Presented by the Centre for Fine Print Research at the University of the West of England at the Royal West of England Academy, Bristol. The Centre for Fine Print Research (CFPR) at UWE is a fine art based facility dedicated to the research of a broad range of print issues that emerged with the invention of photography in the nineteenth century, and continue to the present. This exhibition features prints and print-related artefacts resulting from some of the Centre’s many research projects. It includes artworks that explore the possibilities of several almost forgotten high quality nineteenth century printing processes through to the latest cutting- edge digital printing techniques. One of the over-arching themes of much of its research involves the integration of the best of the old with the advances of the present to facilitate new and increasingly comprehensive means of expression for artists. As well as work exploring the possibilities of combining digital imaging techniques with rare old processes such as collotype, printed enamels and an obscure photo ceramic printing technique, the exhibition aims to reveal the potential of some of the newer imaging technologies that have recently emerged. Through its research activities, the Centre has attracted collaborative ventures with a number of internationally important artists. One such artist, Richard Hamilton (the founding father of the British Pop art movement), produced a major work ‘The Typo Topography of Marcel Duchamp’s Large Glass' in collaboration with the Centre in 2003. Besides work from its diverse projects and collaborations, this exhibition features prints commissioned by the CFPR from five artists especially for this show. Working in conjunction with researchers from the Centre, the five artists: Susan Collins, Charlotte Hodes, Paul Hodgson and Neeta Madahar and Jo Lansley - selected for their innovative work with new forms of digital imaging - all produced a series of ambitious prints that, along with the other pieces in the exhibition, reveal some of the exciting new horizons in print currently being explored by contemporary artists.

Digital Aesthetic 2

The Digital Aesthetic 2 exhibition highlighted work by a number of regional, national and international artists that use different approaches to working with the digital. Artwork on display varied from specially commissioned site specific light boxes by Bill Seaman, web based interactives by Thomson and Craighead and boredomresearch, installations by Vince Briffa and Stefan Gec, projections by Gary Hill and Robert Cahen and prints by eBoy, Susan Collins and Jane Prophet. The Digital Aesthetic 2 was a joint initiative between the Harris Museum and Art Gallery, Preston and the Electronic & Digital Art Unit at the University of Central Lancashire

Snowdomia

A fast paced looping animation of snowdome images downloaded from the internet. The work was made to be shown on a 50 metre square LED screen which was commissioned by sLab as part of "SHINE" Winter Festival. Sunderland Museum and Winter Gardens, Sunderland from Thursday 7 December - 31 December 2006

Extraordinary Experiences: A Retrospective of British Media Art

First commissioned for Haunted Media at Site Gallery Sheffield (2004) this work features a live transmission from a haunted house. In this version a webcam at South Hill Park, Berkshire (a haunted manor house) is harvesting images a pixel a second and transmitting these live to the internet and to a large projection which is updated live and continuously throughout the exhibition. The projection is accompanied by an audio 'fear frequency’. This is a frequency of 19hz just below the range of hearing (infrasound), which has been found to be present at sites of apparently haunted locations and linked to distorted vision (including spectral images), discomfort, and 'irrational' fear. The work is also available online with images saved at two hour intervals and displayed as an ongoing archive (continuing until March 2007).

Fenlandia

Solo show featuring prints from the Fenlandia archive For 12 months from May 2004, a webcam was placed on the roof of the Anchor Inn, a 17th century coaching inn in the heart of rural Cambridgeshire, overlooking the Great Ouse and the New Bedford River at nearby Sutton Gault, part of the area known as ‘silicon fen’ where technology is literally embedded in the flat horizons of the reclaimed landscape of canals, sluices, dykes and ditches. The webcam was programmed to record images a pixel a second, so that a whole image would be made up of individual pixels collected over 21.33 hours. Each image was collected from top to bottom and left to right in horizontal bands continuously. The result is a series of gradually unfolding, classically romantic landscape images harvested and archived over the course of the year. This exhibition marks the first showing of a selection of large and small format archival digital inkjet prints from the original Fenlandia archive. The work is intended to be slow; a reflection on the ever-increasing speeds we demand from the Internet. It encodes the landscape over time, with different tonal horizontal bands recording fluctuations in light and movement throughout the day and with broad bands of black depicting night-times. Stray pixels appear in the image where a bird, person, car or other unidentifiable object may have passed in front of the webcam as the pixel was captured. Time becomes intrinsic to the work as the previous 76800 seconds or 21.33 hours - just under a day - is displayed pixel by pixel within a continuously updating time-lapse film caught in a single frame. Poised between the still and the moving image, the lens and the pixel, the work explores how images can be coded and decoded using both light and time as building blocks for the work. For this exhibition, two webcams have been located at Babylon Gallery looking out across the riverside and recording images a pixel a second. One set of images harvested in Ely will build a website archive, while another set will be fed live to a large screen in the gallery offering visitors a different perspective on this apparently familiar scene.

REMOTE

From September 2005, a webcam has been transmitting images of Loch Faskally, Perthshire, Scotland from the FRS Research laboratory, Faskally. This webcam is harvesting images pixel by pixel, second by second and day by day over the course of the year. Each image is collected from top to bottom and left to right in horizontal bands continuously, marking visible fluctuations in light and movement throughout the day and being archived at two hour intervals. A selection of these images are displayed and updated regularly in the archive section of this website and a live realtime version of the work can be viewed full screen and projected for gallery installation. glenlandia is a companion work to Susan Collins' Fenlandia, a series of ‘pixel landscapes’ exploring the relationship between landscape and technology over time

Timeless: time, landscape and new media

From September 2005, a webcam has been transmitting images of Loch Faskally, Perthshire, Scotland from the FRS Research laboratory, Faskally. This webcam is harvesting images pixel by pixel, second by second and day by day over the course of the year. Each image is collected from top to bottom and left to right in horizontal bands continuously, marking visible fluctuations in light and movement throughout the day and being archived at two hour intervals. A selection of these images are displayed and updated regularly in the archive section of this website and a live realtime version of the work can be viewed full screen and projected for gallery installation. glenlandia is a companion work to Susan Collins' Fenlandia, a series of ‘pixel landscapes’ exploring the relationship between landscape and technology over time

FRAMED

Framed was a performance event/showcase which took place in the new Slade Research Centre space in Woburn Square at the end of March 2006 to coincide with the NODE.London season for media arts and also to mark the 10th anniversary of the Slade Centre for Electronic Media. From works exploring transmission, networking and time to palm pilot drawings, sound performances as well as experimental works developed in collaboration with UCL's Immersive VR Laboratory exploring physiological input devices, this event was intended to provide a snapshot of the broad range of interests, exploration and investigations in this area. Artists included: Lanfranco Aceti; Tom Badley; Alex Baker; Dale Berning; Ben Barwise; Ramona Behravan; Rebecca Birch; Martin John Callanan; Ana Cavic; Georgia Chatzivasileaiadi; Susan Collins; Phil Coy; Amy Cunningham; Dream Products Co; Simon Elliston; Anita Wernstrom and Jennie Fagerstrom; Simon Faithfull; Brett Foreman; Judith Goddard; Florencia Guillen; Tim Head; Louisa Clarke and Jaye Ho; Nick Hornby; Will Hurt; Alex Impey; Janice Kerbel; Richard Lockett; Brighid Lowe; Sunee Markosov; Viveka Marksjo; Vaishali Pathak and Katie Miller; Suzi Webster and Katie Paterson; Salomon Rogberg; Jack Southern; Naoko Takahashi; Thomson and Craighead; Timo Vaittinen; Jon Velardi; William West; Patrick White; Eli Zafran

Christmas

Underglow

One of 4 works commissioned by the Corporation as part of their new 'Light Up Queen Street" annual programme of winter commissions. Underglow has illuminated a number of the network of drains and gullies which service the streets. Lights have been installed within 16 separate gullies (drains) in the vicinity of Guildhall Yard, King Street and Queen Street. The lights are hidden within the drains and some are programmed to very slowly change colour. This work was produced in cooperation with the Corporation of London's electrical contractors and drain engineers and is set to come on with the street lights.

Blur of The Otherworldly: Contemporary Art, Technology, and the Paranormal

StoryRooms

Glenlandia

A companion work to Fenlandia (see previous), this is the exhibition version of Glenlandia (as per Glenlandia artwork entry). A webcam has been sited at the FRS (Fisheries Research Services) Freshwater laboratory which is situated on the bank of Loch Faskally, Pitlochry, Perthshire, Scotland. The webcam harvests images pixel by pixel over the course of 12 months. Each image collected from top to bottom and left to right in horizontal bands continuously, recording fluctuations in light and movement throughout the day. It is set to record at a range of rates over the course of the year. For instance when set to record a pixel every second, the whole image is made up of individual pixels collected over approximately 21 hours and 20 minutes. In thsi exhibition version Glenlandia was displayed as a full screen live updating landscape on a screen in the Threshold artspace at Horsecross for 12 months as well as being available online.

Rhizome Artbase 101

Data Agency

Microwave International Media Art Festival 2004

Haunted Media

Festival @rt outsiders 2003 Space Art

Transporting Skies

Transporting skies, people, and landscape between Penzance and Sheffield, the work drew from both landscape and trompe l'oeil traditions in painting to create works which unfolded in real time, concertinaing space, time and location through a sequence of networked installations. One of the works used cameras and projections to draw visitors into the work, transmitting them via the internet in real time to the remote gallery space. Visitors to Site Gallery, Sheffield found themselves beamed to Newlyn Art Gallery, Penzance, and vice versa. The work made it possible for visitors to both galleries to become active participants in the realisation of the work, embodied as live performers within it, effectively existing in two places at once. A second work exchanged an urban Sheffield landscape with a Penzance seascape, each pixel recording a different moment in time throughout the duration of the show.

Transporting Skies

Transporting skies, people, and landscape between Penzance and Sheffield, the work drew from both landscape and trompe l'oeil traditions in painting to create works which unfolded in real time, concertinaing space, time and location through a sequence of networked installations. One of the works used cameras and projections to draw visitors into the work, transmitting them via the internet in real time to the remote gallery space. Visitors to Site Gallery, Sheffield found themselves beamed to Newlyn Art Gallery, Penzance, and vice versa. The work made it possible for visitors to both galleries to become active participants in the realisation of the work, embodied as live performers within it, effectively existing in two places at once. A second work exchanged an urban Sheffield landscape with a Penzance seascape, each pixel recording a different moment in time throughout the duration of the show.

The Digital Aesthetic

In Conversation

In Conversation

Home 1

Encoded Identities

Travelogue

Suspect Devices

Avatar

eBC1

single screen video included as part of 'TV' webcast, Institute of Contemporary Art, London

Awash

Awash was a temporary site specific installation at Mackenzie Walk, Canary Wharf London commissioned as part of a programme of works called Launch curated by Richard Milner. It took the form of an intervention, incorporating a series of sounds and a video projection onto water.

In Conversation

Suspect Devices

Imaginary Places

Ex Machina

An exhibition of Japanese and British Digital Interactive Art. Artists: Susan Collins; Digital Therapy Institute; Teiji Furuhashi; Jane Propher; Paul Sermon; Yoshinori Tsuda

Triplicate

Exhibition across three venues on the South coast. Artists: Katherine Clarke, Susan Collins, Anne Eggebert, John Kippin, Ed Stewart, Jo Stockham

Objekt:Video

Large international survey show of artists working with video 'objects' and installations.

Triplicate

Exhibition across three venues on the South coast. Artists: Katherine Clarke, Susan Collins, Anne Eggebert, John Kippin, Ed Stewart, Jo Stockham

Triplicate

Exhibition across three venues on the South coast. Artists: Katherine Clarke, Susan Collins, Anne Eggebert, John Kippin, Ed Stewart, Jo Stockham

Command, Shift, CTRL: Sexuality, Fear and Desire in the Digitized World

Artists included: Susan Collins, Nigel Jamieson, Monique Genton and Andrea Polli.

Every Dog Has Its Day

Solo exhibition as part of Videopositive 1995, commissioned by the Foundation for Art and Creative Technology, Liverpool

V-topia: visions of a virtual world

An international show of works using electronic media. Artists including: Susan Collins, Clive Gillman, Grahame Weinbren, Lynne Hershman Leeson, Graham Ellard and Stephen Johnstone

On Location

'Litter', a site specific animated video projection was installed in Wood Street Liverpool, commissioned by the Bluecoat Gallery, Liverpool as part of this exhibition of site specific works

Handle With Care

Large scale solo interative installation commissioned for the opening of the 1830 Warehouse, Museum of Science and Industry in Manchester

Introductory Exchanges

A site specific interactive audio and video public installation for the Woolwich Foot Tunnel, commissioned by Camerawork Gallery for the River Crossings Festival

Zainul Award

Appointed Member of Advisory Committee

PhD Net Art conservation

Fellow

Judge

Selection Jury

Selection Jury

PhD Fine Art

ASEM Duo Faculty Exchange Fellowship

Selection Jury

Garry B Fritz Imagemaker Award for excellence

Artist in Residence

PhD Fine Art

PhD Media Art History

BAFTA nomination

Front Row, BBC Radio 4

Interview for Jazz fm

Interview on J-Wave Radio, Tokyo

Purchaser, Arts Council Collection

PhD Media Art

Interview on Deutschland Funk, German National Broadcasting

Interview, SFB radio 106.8, Berlin

RSA Art for Architecture Award

MA Interactive Multimedia

BBC2 Documentary

Interviewed by Hari Kunzru

RSA Art for Architecture Award

Interview for BBC TV World News

Interview for BBC TV News 24

Member International Program Committee

London Arts Board Award to Individual Artists

Electric Passions, Channel 4 documentary

European Artists Pepinière

Arts Council England panel memberships

Arts Council & Channel4 Hi-Tech Fund Award

Interviewed on Kaleidoscope, BBC Radio 4

Fulbright Travel Award

Rose Sidgwick Memorial International Fellowship

Animator in Residence