I am interested in mobility - of people, things and data - and in the impact this has upon the sense of self both when alone and as part of a community. With an ever-increasing number of friends and contacts spread ever further across the globe, how many of us actually know our neighbours? And with a mobile phone in your pocket, why ask a stranger on the street for directions? On the other hand, it would never be possible to remain simultaneously in contact with so many people, flung so far across the globe, without these technologies. Social networks and the modes and methods in which we communicate today, are having a profound impact on how we navigate and experience the world, geographically, socially, politically and philosophically. My work may be understood to be in two parts. One is fairly quiet photo and video work. I gather photographs in my daily life, which I later edit to create series and sets. My video is usually shot with fixed frame and sound as recorded on site. It provides a window on the world for a few minutes, like an extended photograph. I find it interesting that it can be easier to give one's attention to something that is mediated (via video or film) as opposed to sitting for ten minutes and watching an actual view. In this way I hope that my work can offer some space for quiet contemplation, as well as for highlighting the presence of beauty in everyday situations. The other side of my practice is more participatory, where I involve others in the image-making process. I do this either though the distribution of cameras (as in The Broadway House Photo Project and The Trans Siberian Project) or through conversation with my subjects (as in The George Richmond Portrait Project.) In this way the images produced through these projects are the result of collaboration rather than ‘taking’ pictures according to what only I see. By working in this way, I step away from the traditional role of photographer as outside spectator. Instead I am forced to interact with the community or cultural context I am working with(in). The Art Project provides an excuse for me to communicate with people I would not otherwise have the opportunity to meet. I am also interested in the relationship between digital and analogue photography and the impact this shift of image creation and distribution has upon our sense of history, archiving and memory as well as upon language. And in the distancing effects of the screen.
CV & Education
EDUCATION & TRAINING
2014 Distributed Intimacies, The Banff Centre, Alberta, Canada (residency)
2010 Goldrausch Kunstlerinnen Projekt IT, Berlin
2007 Future of Idea Art, Banff Centre, Canada (residency)
2002-3 MA Fine Art, Central Saint Martins School of Art & Design, London.
2001-2 MA Curating Contemporary Art, Royal College of Art, London (first year).
2007-9 Four Corners Professional Development for Photographers, London
1995-8 First Class Degree in History of Art BA (Hons) University of Leeds.
SELECT SOLO EXHIBITIONS
2012 Change Settings, Techno Park Studios, Melbourne, Australia
2011 Moscow-Beijing (solo screening), Milton Keynes Gallery,
2010 Moscow-Beijing, Centre for Endless Progress, Berlin
2009 Mobility and Creativity: Narrative, Representation and Performance, University of Surrey, Guildford
2009 Time & Place, Queen Elizabeth Hospital, Woolwich, London
2007 Moscow-Beijing, Globe Hub, North Shields, Newcastle, UK
2006 Air Time-Spaces, Centre for Mobility Research, Lancaster University
2006 Moscow-Beijing, Other Gallery, The Banff Centre, Alberta, Canada
2003 The Broadway House Photo Project, Seven Seven, London Fields
SELECT GROUP EXHIBITIONS / PERFORMANCE NIGHTS
2015 Right Here / Right Now, The Lowry Centre, Manchester
2015 Screening of three Sergina films at FRINGE! Festival in London
2015 Phone Me, Don’t Write & Other Tales of Sex and Love in the Digital Age mit #Sergina, Kunstquartier Bethanien - performance
2015 Screening of three Sergina films at Scottish Queer International Film Festival & performance
2015 Camden Encounters, The Roundhouse & online (commission by Camden Council – camden50.co.uk)
2015 Sergina at Painted Ladies, The Club, Neukoelln, Berlin: live performance
2015 Sergina at Pansy’s Drag Race, Sudblock, Berlin (performance)
2014 Inheritance / act_out, GSL Projekt, Berlin (artist & curator)
2014 Instantaneous Culture by Sergina at The Shag, Gallery 223, London. Live performance
2014 Sex Without Bodies, Temporary Agency, Queens, New York
2014 The Moving Image Project, Baroda; Christchurch, London; New York.
2014 Delineator, A3 Project Space, Birmingham
2013 On Looking, Galapagos Kunsthalle, DUMBO, New York. Curated by Daniel Kingery
2013 Thrift Radiates Happiness, Birmingham Municipal Bank. Curated by Charlie Levine
2012-3 Band/Ties, ARTicle gallery, BIAD, Birmingham & WIP Konsthall, Stockholm
2012 Absence/Presence, Hotel Paravant at Tete, Berlin. Curated by Tatiana Echeverri Fernandez.
2011 Let the Rhythm Hit ‘Em, Kunstraum Kreuzberg/Bethanien, Berlin
2010 Glass Crash Feeling - Goldrausch 2010, Galerie September, Berlin
2009 The End.. And? The Latin Collector / Frederico Sevres, New York
2008 NeMe: In Transition: Russia 2008, Museum of Fine Arts, Ekaterinburg & NCCA, Moscow
2008 Filmobile, London Gallery West, University of Westminster, London
2007 The Journey/Moscow to Beijing, London Gallery West. Two-person show with Joram ten Brink
2006 Capturing the Moving Mind, Kiasma Museum, Helsinki
2005-6 All for Show, UK video works, Multiple venues internationally. Curated by Lee Campbell.
2005 Mobility & Hospitality: The ethics of social relations in a mobile world. Lancaster University.
2012-13 FRAME_birmingham. Arts Council funded, mac birmingham & Own Art supported curatorial project by Elly Clarke, which saw unique works by 41 local & international artists installed & for sale in 31 different venues across the city of Birmingham, from the Cathedral to a nail salon. Mirrored online.
2008-13 Clarke Gallery. Set up initially in Elly Clarke’s flat in Berlin, Clarke Gallery later brought exhibitions to other places via mobile exhibitions WUNDERKAMMER, The Mobility Project & FRAME_birmingham. Venues include Franklin Furnace, New York; mac Birmingham; Eastern Edge, St Johns, Canada; Galerie Suvi Lehtinen, Berlin; Meter Room, Coventry; The Old Joint Stock & TROVE in Birmingham.
PRINT / WEB
2015 Laughing Inverts – conversation with artist Lena Rosa Haendel in her monograph, Kehler publishers
2015 Camden Encounters for Camden Council (web based):
2015 Digital Remnants: Sex Without Bodies, GUTS Magazine, Canada
2014 Delineator, edited by Cathy Wade / A3 Project Space – text & images
2013 Thrift Radiates Happiness, catalogue produced to accompany exhibition in the Municipal Bank
2012 Connected Isolation/ Isolated Connectedness: Curated feature by Elly Clarke for Culturehall.com
2012 Change Settings: Beiiing. Review by Lisa Radford of solo show at Techno Park Studios
2012 4 page A4 guide to accompany FRAME_birmingham, with essay by Anna Canby Monk
2010 Alternative Funding Strategies by David Trigg, Rant 47, Axisweb
2010 24/7 Contact. Monograph catalogue produced by Goldrausch, Berlin. Essay by Erin Manns.
2009 Beautiful Triggers - review of Time & Place by Lee Campbell in ArtVehicle 44
2007 The Journey / Moscow to Beijing, Catalogue produced to accompany exhibition at LGW
2006 The Trans Siberian Photo Project by Elly Clarke (pdf), Framework, Issue 4/ Permanent Transience
AWARDS / GRANTS
2014 Scholarship from The Banff Centre for Distributed Intimacies Residency
2014 ACE Grants for the Arts grant for The George Richmond Portrait Project (R&D)
2013 Scholarship from Aedas Architects for Thrift Radiates Happiness commission
2012 ACE Grants for the Arts grant for FRAME_birmingham
2011 ACE Grants for the Arts grant for Mobility Project at Meter Room
2010 The De Laszlo Foundation for The George Richmond Portrait Project?
2006 Scholarship from The Banff Centre for Future of Idea Art residency
2005 Grant from the Swedish School of Economics for Capturing the Moving Mind