An Eye, An Arch, A Bridge, 2014
Bryony Gillard in collaboration with Neil Rose
A chorus of voices weave together a text exploring the anarchist theory of spontaneous order, the Serpent Dance and the myth of Oroboros. A performance including sound, spoken word and images.
Muster Page Habit 2 proposes an intersection of speech, thought and vocalisation that teases together a sensing of language as speaking through the body, that performs a talking that is thrown from the speaker outwards to a public/for a public/making public in the hope of hearing by hearers.
In the 12 hour durational performance DRY RUN part 2: How to save your skin when disaster strikes without warning (known also as ‘Book of Survival’), LOW PROFILE read, try to learn from and test each other on the survival advice offered by the 1960s publication, The Book of Survival by Anthony Greenbank. Once read, the book offers the promise to leave its readers mentally equipped ‘to survive’.
Impromptu is a layered sound work made up of specially commissioned recordings of renowned Freddie Mercury tribute act Gary Mullen (winner of Stars In Their Eyes, 2000) performing a score inspired by the late Queen frontman’s extensive vocal improvisation games of audience ‘call-and-response’.
Melanie Manchot became curious about the clubs and groups that occupy the community centre’s and village halls along its banks. The film The Hall is centered on those individuals and groups who occupy these spaces for a few hours each week, revealing a complex and intimate portrait of modern life on the banks of the Tamar.
Move Over Darling reveals LGBT people's stories and reminiscences about their experiences and lives, which are potent accounts of an often-overlooked part of social history. Focusing on the testimonies of the over 60s, Tom uncovers fascinating insights into a group that is sometimes invisible on the gay scene, let alone that of mainstream culture.
A Place in the Sun explores the pleasure and pain contrasted with the highs and lows of all-inclusive holidays, particularly abroad. In this project Tom investigates holidays through the filter of the seven deadly sins (lust, gluttony, greed, sloth, wrath, envy, and pride). From lounging by the pool, to hedonist nights out and eating as much as you like - we see the seven sins played out during holidays, where normal codes of behaviour do not apply. Scratch the surface of the quest for a place in the sun and you might find a world that is riddled with prejudice and xenophobia or something that can never be culturally authentic - the experience having been filtered through, and adapted for, the tourist market.
The performance Double Brass was presented in a wild flower meadow in the grounds of Kestle Barton gallery at midday and the marking of summer solstice.
Two brass bands marched through the fields (playing an especially composed piece by band leader Gareth Churcher) in and of synch and harmony. With audience members dispersed, listening across the landscape, at times following the band through the meadow and at times circling them, creating a heightened awareness of locality and terrain.
Rinkomania is a collaboration between artist Beth Emily Richards and Plymouth City Roller Girls. This performance project is an ‘inexact reenactment’ of Plymouth’s roller skating history; taking inspiration from and celebrating skating rink stories from the area, between the 1870s to the 1920s. Plymouth had many skating rinks at the turn of the century, with events programmed such as obstacle races including ‘candle races’, where skaters must skate as fast as they can without the candle’s flame going out; ‘human skittles’ on skates; and even tug of wars on skates between local naval and army corps.
Erika Tan’s Sensing Obscurity is set in Saltram House, an English Manor House (now National Trust property) in Plymouth. The film takes place ‘some point in the not so distant future’, at a moment in time when Chinas ascendance as a global power has given rise to an opportunity to re-visit history differently.
Using a mixture of documentary and narrative film tropes, the cut and paste aesthetics of hip-hop and chinoiserie - Saltram House and history as we know it, under-goes a slippery transition in an attempt to remain relevant and shore-up its status as cultural capital.
A collaborative work with Erika Tan that mixes clips from examples of Chinoserie found in music and popular culture. Sound clips range from traditional jazz to modern electronic music, via Western interpretations of Eastern cinema. Formed around a traditional B-boy style the work was primarily composed for a group of break-dancers.