Approved: 26.10.2010

Debra Fear

Artist, Film-maker

Archived
Approved: 26.10.2010

My practice inflects experimental fine-art moving image and sound with poetic sensibilities and sci-fi vibes. I tend to film opportunistically, so that the footage I acquire necessarily embodies its flaws. I have come up with the term arte difettoso, which I consider a bastard offspring of arte povera in its reference to poor quality materials. The footage is then subject to reframing to produce immersive audio-visual installations. This process is at once literary and scientific, with observation and invention informing one another. Observation becomes poetic inquiry, a means of seeing potential, while invention is informed by philosophical research and material interrogation. The intention is that any verbal representation of a work would necessarily acknowledge this multiplicity and avoid simple description of image and effect.

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  • Location: London
  • Artforms: Digital, Film & video
  • Tags: action-image, cinema, deleuze, philosophy, time-image, alien, digital video, environmental, experimental film, swan, ufo, arte difettoso, fine art moving image, projection
 

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    Artist Statement

    My practice inflects experimental fine-art moving image and sound with poetic sensibilities and sci-fi vibes. I tend to film opportunistically, so that the footage I acquire necessarily embodies its flaws. I have come up with the term arte difettoso, which I consider a bastard offspring of arte povera in its reference to poor quality materials. The footage is then subject to reframing to produce immersive audio-visual installations. This process is at once literary and scientific, with observation and invention informing one another. Observation becomes poetic inquiry, a means of seeing potential, while invention is informed by philosophical research and material interrogation. The intention is that any verbal representation of a work would necessarily acknowledge this multiplicity and avoid simple description of image and effect.

    Film cognition theory, technological advances and philosophic discussions of the digital context are vital to my practice, since they affect and express collective and individual understandings of moving digital imagery in the gallery and out in the world.

    My ever-increasing archive facilitates re-appropriation internally; audio is subject to frequent reconstitution into different works. I refer to these remixes as ‘circuits’, which can be considered analogous to echoes within experiences of time and memory. They are sculpted to absorb the viewer in subjective and intuitive experiences of duration, as qualified by Henri Bergson’s concept of durée.

    The works are highly structured, edited compositions with layered timelines that challenge limits of reality, in that their hyper-realistic appearance might be fabricated through entirely fictitious means. In this way they are obviously a digital form of painting, albeit extending out of avant-garde film history and using cinematic archetypes.  Films, for me, are not only philosophic, cognitive instruments, but should incorporate aesthetic enjoyment; an absence of traditional characters or plot necessitates a different sort of absorption and identification.

    My current research resides in the arte difettoso misunderstanding of quantum physics with particular regard to concepts like time’s quanta ‘chronons’, Euclidean space etc which I investigate aural-visually in my studio practice, often also manifests within a creative writing context.

    CV & Education

    Nationality:     Irish/British - dual, holding Eire and UK passports

            Insta    LinkedIn    Tweet Me    YouTube 

    Contact:    [email protected]  [email protected] 

    2014         MA Painting at Royal College of Art, London

    2010        BA (Hons) Fine Art in Time-based Media at Wimbledon, UAL

    2007        Foundation in Art and Design, Camberwell, University of Arts London (UAL)

    Moving Image/Sound

    My practice inflects experimental fine-art moving image and sound with poetic sensibilities and sci-fi vibes. I tend to film opportunistically, so that the footage I acquire necessarily embodies its flaws. I have come up with the term arte difettoso, which I consider a bastard offspring of ‘arte povera’ in its reference to poor quality materials. The footage could then be subject to reframing to produce immersive audio-visual installations. This process is at once literary and scientific, with observation and invention informing one another. Observation becomes poetic inquiry, a means of seeing potential, while invention is informed by philosophical research and material interrogation. The intention is that any verbal representation of a work would necessarily acknowledge this multiplicity and avoid simple description of image and effect. Film cognition theory, technological advances and philosophic discussions of the digital context are vital to my practice, since they affect and express collective and individual understandings of moving digital imagery in the gallery and out in the world. My ever-increasing archive facilitates re-appropriation internally; audio is subject to frequent reconstitution into different works. I refer to these remixes as ‘circuits’ - C, which can be considered analogous to echoes within experiences of time and memory. They are sculpted to absorb the viewer in subjective and intuitive experiences of duration, as qualified by Henri Bergson’s concept of durée. 

    The works are highly structured, edited compositions with layered timelines that challenge limits of reality, in that their hyper-realistic appearance might be fabricated through entirely fictitious means. In this way they are obviously a digital form of painting, albeit extending out of avant-garde film history and using cinematic archetypes.  Films, for me, are not only philosophic, cognitive instruments, but should incorporate aesthetic enjoyment; an absence of traditional characters or plot necessitates a different sort of absorption and identification. 

    Painting and Assemblage

    From 2016 the artist collector Debra gathers seaborne trash off beaches and extrapolates, in her unique way, the implications of humanity’s discards and despairs at the impact on the planet. Identifying patterns of ironic fascination grows from the direct correlation between the synthetic and nature. Seductive colours, forms and textures of twine, rope and degraded cabling mimic seaweeds and bottle caps accumulate with seashells in clusters. An ability honed from experience reads the tidelines like a fisherwoman reading the sea and wind. A connection to Jung’s collective unconscious is acknowledged. The work projects a future seeded by research: the history and science of plastics polymers, tracking of environmental news and forms a philosophic contract from the illustrative incarnation of the simplistic composites. Delivers into the mainstream its own unique message. as environmental art addressing social and political issues relating to the natural and urban environment with added sci-fi motifs into the alchemy. Now plastics in our ecology is a hot topic Debra will still be a beach guardian but is responding to other contemporary concerns in order to evolve as an artist. 

    Textual

     

    Whilst temporarily resident on Estoril coast I learnt about Portuguese history and culture and discovered Fernando Pessoa and I found a synchronistic pattern emerge as I read his translated writings. I wrote to soothe internalised anxieties and to keep my creativity sharp, a favourite haunt was the O Sinaleiro. Later working in customer service in Lisbon I had little capacity to have a consistent, consuming practice as previously, often I was by the Tejo in my lunch hour scribbling the odd muse. These written musings/poetry have ended up as artist memoirs and illustrate my love of Portugal and its people and are a conversation with Pessoa. All available on amazon.com/author/debzoid and some on Apple Books.

    Timeline

    2018-19    Commissions/private collectors: Portugal, projects ‘Politics of Interconnectedness’,Planet Plastikos

    2017-19    100x100=900 on Google Cultural Institute - video representing the year 1942 

    2016    Exploding Cinema, Cinema Museum, London, UK

        I don't wanna curate anymore, i just wanna accumulate content, online exhibition hosted by Charlton Gallery, London.

        Videotheque Art Stream

        The Listening Booth - online

    2015    TOAST - New Curators Collective, The New School House Gallery, York, UK

        RCA Secret 2015

        International Streaming Festival

    2014    ‘videoART’ Exsperiment - Szczecin European Film Festival, Poland

        Graduate Show, RCA, UK

        Hidden Door Festival, Edinburgh, UK

        RCA Secret, Dyson Gallery, London, UK

        International Streaming Festival    

    2013-16    Resident artist, Buddhist Army Records

    2013    ‘Badly Natured', NEST, The Hague, The Netherlands

        PNTG NOV, Henry Moore Gallery, RCA, UK

        100x100=900, global tour screening project - still active

        ‘Notes to Self’ and RCA ‘Secret’, Dyson Gallery, London, UK

        International Streaming Festival

        WiP, Lower Gulbenkian Gallery, Royal College of Art, London, UK

    2012-13    Collaborative project with Collectives & Curiosities, St Lukes, London, UK

    2012    ‘Colour Blue' music video for little horse

        International Streaming Festival

        St Mungos –‘Without Walls', Guardian, London, UK

        Artists School – ICA/LUX Biannual Moving Image Festival, London, UK

        Exploding Cinema, Cinema Museum, London, UK

        Tooting Construction ‘pop-up' Gallery, London, UK

    2011    International Streaming Festival

        Alchemy Film and Moving Image Festival, Hawick, Scottish Borders, UK

        Royal Academy Summer Exhibition, Piccadily, London, UK 

        Music videos- Zook, Parkbench and Tommy Hinkley & Wandering Horse

        Ottica TV Annual Screening, Bankside, London, UK

    2010/11    Resident TBM Artist at Art Academy, London, UK

    2010     ‘Erased Walls’, Berlin, Germany

        Degree Show, Wimbledon UAL, UK

        ‘Outside the Box', UAL, London, UK

        ‘Testing the Chains', Electricians Shop, Trinity Buoy Wharf, London, UK

        High Five, Croydon, London, UK 

        Annual Ottica TV Show, Bankside, London, UK

    2009     International Streaming Festival – Student Edition

        ‘Q-Art London presents', APT Gallery, London, UK

    2008    ‘Reflections of Choice' - Camberwell Arts Festival, London, UK

        Making Connections, Open screening, APT Gallery, London, UK