In this week's Playlist we feature a selection of videos by our our members that are black and white.
Robyn LeRoy-Evans, Bathing The Fallen, 2017
Following the birth of my daughter, I have been experiencing postpartum hair loss. 'Bathing The Fallen' is an act of respect and gratitude towards the strands that are no longer a part of myself.
Check out Robyn's profile on Axisweb >
Anna Falcini, We Drill For Oil, 2016
In 1952 BP commissioned a promotional film, 'The Island' to promote the development of the company's Kent Oil Refinery in the Isle of Grain. We Drill For Oil, contemplates small gestures that are seen in the film that deeply embedded the refinery into the landscape of the Hoo Peninsula.
Check out Anna's profile on Axisweb >
Victoria Lucas, The Hitchcock Staircase, 2015
The Hitchcock Staircase is a short video that explores site as an object of temporal suspense. Situated in the Pan American apartment building on Broadway, Downtown Los Angeles, the staircase encountered by the artist in this work has apparently featured in a number of Hitchcock films, although no record of this fact has yet been found.
The act of ascending or descending a flight of stairs in an Alfred Hitchcock film is an event in itself, carefully devised as a bad omen that heightens the emotions of the viewer as the character is led towards some form of danger. Avoiding Hitchcock’s gaze, the artist attempts to ascend the stairs unnoticed, creating a form of playful suspense on her own terms and from a decidedly female perspective.
Check out Victoria's profile on Axisweb >
Gregory Hayman, la Reina Entra en el Espejo, 2017
This is a Spanish language version of the artwork 'queen's English'. This video artwork is a response to Diego Velázquez’s Las Meninas painting, in Madrid. It is a meta-narrative written by myself, recounting the Queen’s reflections on the moment she walks into the studio and sees her daughter being painted.
The Queen, as lovers of the painting will know, appears only as a vague shimmering figure caught in a mirror at the rear of the painting. As such she and her husband beside her, might appear to be periphery figures. Her marginality interested me such that I wanted to elevate her to centre stage and consider her thoughts and her reflections on what we, the viewer, see in the picture
Check out Gregory's profile on Axisweb >