Sara BrannanArtist, Teacher
The new work is focussed on colour and the materiality of painting, using an intuitive, playful and process led approach to image making.
For each body of work the starting point is the same, by using seriality as a systematic process, which produces multiple objects in a series. During the process the work transforms, either as a result of the paint interacting with itself and other material or by additional involvement from the artist.
The video work is based around appropriation of manipulation of films in the public domain. Using them as a found object I re-edit them into short videos focussing on the female lead character.
In most of the videos only footage of the female alone in the frame is used, the rest of the film is removed and the images are edited together to run consecutively, following the chronological order of the original film. All sound is removed apart from the character's voice. This re-editing interrupts the patriarchal narrative structure and makes visible the usually invisible editing that is demanded by realism.
The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line. The woman is on display, to be looked at and to provoke rather than represent. She functions as an erotic object on two levels: for the characters within the screen story, and for the spectator within the auditorium, with a shifting tension between the looks on either side of the film. By removing the male protagonist the gaze is transferred solely to the spectator, which intensifies our own scopohillic position. The female character is left looking passive, vulnerable and unstable.
In Sarah 2014 this process has been repeated but two videos showing the same character from two different films have been placed alongside one another and played simultaneously. The sound has also been included. This creates a visual and audio dialogue between the two versions of the same character. The dialogue between them is serendipitous & uncanny. She communicates to herself over time, looking back on herself and into the future.
2012 Barbra, Betty & Mora AC Institute, New York City
2012 Scopophilia The Art House, Wakefield
2010 Transient MillSpace Gallery, Leeds Industrial museum, Leeds
Selected group exhibitions
2015 The Red Files Schwartz Gallery, London
2014 The Box Aberystwyth Arts Centre, Wales
2013 Equals - Exploring feminism through art & conversation Blank Media Collective, Manchester
2013 Aesthetica Art Prize York St Mary's, York
2012 Outcasting: Fourth Wall Festival, Cardiff, Wales
2012 Group2012 WW Gallery, London
2012 Asubmersible http://www.asubmersible.net
2011 Unrealised Projects www.eflux.com
2011 Creekside Open Selected by Phyllida Barlow APT Gallery, Deptford, London
2011 Surface Shorts:contemporary film, video art & animation Surface Gallery, Nottingham
2010 RE:animate Oriel Davies Gallery, Wales
2010 Orebro International Videoart Festival, Sweden
2010 Fundada Artists Film Festival, Halifax
2010 Videoholica Video Art Festival, Bulgaria
2010 One Minute International Film Festival, Switzerland
2009 Happenstance Sylvester Space, Sheffield
2008 Liminal Sheffield Institute of Art (SIA) Gallery, Sheffield
2008 No Exhibition, No Audience Victoria Baths, Manchester
2007 Catapult Urbis, Manchester
2012 Artist in residence at The Art House, Wakefield
2010 Artist in residence at Leeds Industrial Museum, Leeds
2013 Shortlisted for Aesthetica Art Prize
2012 Longlisted for WWSolo award
2009 MAStar on Axis
2012 - 2013 PGCE Sheffield Hallam University
2007 – 2009 MA Contemporary Fine Art, Sheffield Hallam University
2004 – 2007 BA Hons. (First) Visual Art, University of Salford
2003 - 2004 BTEC ND Art & Design, Tameside College