Cold Case Files
Designates "global warming" as not merely a thermostatic condition but as a political demand, that investigates the ways in which hot and cold cases meet and are even at times mutually constitutive, how, in effect, they “warm up” to each other so that the distant and remote are folded into the proximate and urgent.
This research forwards the proposition that we have entered into a new geo-photo-graphic era in which planetary systems have been transformed into photographic agents: hyperimages that are registering and recording the rapid transformations induced by industrialization and their carbon practices. It is not enough to understand anthropogenic transformations purely in terms of a radical geological reorganisation that takes into account humanity’s considerable impact upon earth, we must also confront its violence as fundamentally imagistic.
This research introduces a new operative concept — the material witness — an entity whose physical properties or technical configuration records evidence of passing events. Whether these events register as a by-product of an unintentional encounter or as an expression of direct action, history and by extension politics is registered at these junctures of ontological intensity. Moreover, in disclosing these encoded events, the material witness makes ‘evident’ the very conditions and practices that convert such eventful materials into matters of evidence.
Sounding the Political
An important dimension of my long-term research has been the exploration of the sonic materiality of political events and artefacts.
The exploration of nuclear materiality makes a significant contribution to my ongoing research practice from the accident at Chernobyl to the more recent Fukushima disaster.
Sexuality & Space
My art practice began with a sustained engagement into the relationship between the constitution of female subjectivity and the lived experiences of the urban, one that turned primarily on the ways in which the city functioned as an emancipatory space for women. Later projects shifted this inquiry to include the much more violent landscapes of the home.