'Alchemical Streaming', exhibited as part of node.London at Slade Research Centre, Woburn Square, London, 23 - 25 March 2006
'Alchemical Streaming' was the second in a series representing a highly original use of the specificity of the Internet broadcast delay as a choreographic and compositional tool, in which a live and encoded feedback loop is projected in the physical space of the gallery allowing each previous movement to be seen and each previous voice to be heard, creating a delayed hall of mirrors, both visual and sonic. The first of the series, 'Delayed Dreaming' was presented at The Slade School of Fine Art, June 2002, received the Slade School of Fine Art Clare Winston Award for emerging artists, and was subsequently commissioned by Low-fi, for DMZ, Media Festival, London, 14th – 15th November 2003, and performed as part of ‘Material Matters’ chaired by Mark Godfrey, Association of Art Historians Conference, University College London & Birkbeck College, London.
The use of the internet delay as a compositional tool was developed in the vocal and sculptural performance 'Green Blues' which was created for 'Decentred', Norwich Gallery, Norwich School of Art and Design. 'Decentred I' distributed improvisation was an experimental performance space programmed by Tom Simmons & Liam Wells of n0media and took place between 15th March & 17th April 2004. 'Decentred' connected Norwich Gallery with a variety of remote locations & creative partners. A community of visual, sonic, media and performance artists worked within a specially created network in a series of online collaborations which were webcast live.
'Alchemical Streaming', a vocal performance installation, was exhibited in 'Framed', a group show at the Slade Centre for Electronic Media (London 2006), showcasing new and existing projects, including established artists such as Thompson and Craighead, Simon Faithfull and Susan Collins, as part of node.London: the collective presentation of London wide media arts, (www.scemfa.org/framed), supported by the Arts Council.
'Alchemical Streaming' (London, 2006) sought to draw the messy worlds of magic together with the prosaic and hard edges of the digital. The relationship between alchemy, performance and technology was developed with a series of watercolour paintings, based on alchemical emblems from Atalanta Fugiens by Alchemist Michael Maier in 1617. These were exhibited in 'Hydrophobia II', a group show at ‘Zinger Presents’ (Netherlands 2006), including artists Tim Stoner, Markus Vater, Francesca Lowe and Julie Verhoeven.
The cultural implications of the echo in a site-specific context was developed during the Oolith Project, a collaboration with artists Conall Gleeson and Claudia Kappenberg, and in partnership with Portland Sculpture Quarry Trust, for which a research residency in August 2007, was funded by the Faculty Research Support Fund.