Audios one and two on tannoy speakers: both incorporate pre-recorded announcement-based narratives, plus an adaptation of Rachmaninov’s Piano Concerto no.2 (1900) played by Adam Wilson, durations 13:04 mins and 21:32 mins. Audio three on headphones at exit (shown below in lift): a remix of two versions of ‘Is That All There Is?’ by Peggy Lee (1969) and Bette Midler (2005), duration 4:26mins.
Five duotrans of found photographs in lightboxes, a signal box diagram, a stack of newspapers and 3 audios plus standard aluminium seating. Proposed as a reformulation, without the platform included for the solo show at the Henry Moore Institute, Leeds, December 2015 – February 2016.
As part of the exhibition, an edition of the free newspaper The Line is presented in a stack. The articles, adapted from the audios, investigate stories about bodies, loss and displacement with reference to the historic Necropolitan Line that ran between London and Brookwood Cemetery (1854 to 1941) and Crossbones Graveyard, an ancient unconsecrated burial ground for the prostitutes next to London Bridge. This project articulates the rejection of unwanted bodies and elaborates an enquiry into the use of writing as a form of sculpture by exploring how, contrary to the commonplace notion of sculpture as a mass of material, absence, and the dislocation of matter can be inherent to its logic.
Installation views, Henry Moore Institute, Leeds. 2015 Photos: Jerry Hardman-Jones
AUDIO ONE (tannoy speakers)
AUDIO TWO (tannoy speakers)
AUDIO THREE (headphones at exit)