2008
Shot over a 12-hours period, from dawn to sunset the video Honey is an edit version of the film in real time. A gradual and continuous change of the world map unfolds beyond our eyes as an ever-growing number of ants approach the drawing to its complete disappearance.
2007
Milk font/Milk vessel was born as a site-specific response to the Florence Trust Residency. It appropriated the iconography of the architecture at Florence Trust by filling the church font not with holy water, but with a rich, thick, velvety white liquid that evoked an eerie sense of timelessness. The work was consequently adapted for a gallery context and titled Milk Vessel, where the video was projected into an ice container.
2007
One of thousands was created as a site-specific response to the Florence Trust Residency; composed of a video installation projected inside a narrow alleyway underneath the church organ and an additional sound piece, which was playing from above next to the organ and in other areas of the church. The particular positioning of the video encouraged an intimate and contemplative engagement with the work, whilst the sound playing from above created a disruption between moving image and sound.
2006
In the video Muteness, the viewer witnesses a slow process of unbecoming, as the letters of the alphabet melt and disintegrate before one’s eyes with the intervention of water. The ebbing away of the form and the resulting abstract image are compelling viewing. The tenuous relationship between chaos and order is evident here, as the work acknowledges our psyche’s constant unravelling in today’s world (extract from Kathy Battista text).
2008
Untitled #1 is part of a series of work which explore boundaries and shifting territories
2005
This is a time-based installation. Each day, frozen ink is cast into letters, the given material slowly being replaced by a trace of the communication with the negative of the letters that forms on the floor, pointing to what was once fleetingly there (from Lisa Le Feuvre text).
Frozen ink melts the letters m and e onto a scroll of paper, eerily painting a portrait of itself in action; a powerful example of time-based work which has immediacy and honesty. The viewer can return to discover a new, changing relationship as the piece evolves (from GX Jacques review).
2015
WhiteNoise is a collaborative residency and exhibition between Greig Burgoyne and Rossella Emanuele, held at the Centre for Recent Drawing (C4RD), in London. WhiteNoise bookwork, a consequent publication with interpretive and critical writings, published by Marmalade visual theory and is distributed by Central Books, extended the project concerns in the form of an artist book.
The project sought to explore through collaboration drawing in relation to performance, considering how the role of the body can expand our notion of what constitutes the structured space. In the form of markmaking, walking, combined with repetition, accumulation and endurance, the resulting installation and films aimed to debate how drawing can explore systems of making and thinking. Considering the energy in becoming brought into the space in the making of the work and those forces that exist already in and outside of the context and site together.
The project was funded by the Arts Council England (ACE) and the University for the Creative Arts (UCA).
2006
2014
Salt and water have a mesmeric quality intimate connected with life and death and the creation of meaning. In Seawater/NaCL micro and macro are seen as one, looking into the micro revels the macro and vice versa. The installation included NACL Studies a video shot with an optical microscope that records the process of formation of salt’ crystals from chloride atoms and Seawater, which shows images of the horizon digitally manipulated to expose the editing process, perhaps a futile attempt at counting infinity.
Seawater/NaCL was a project commissioned for Coastal Current Arts Festival in Hastings; it was shown in the exhibition Space Interrupted curated by Clare Sheppeard at Electro Project Space, St Leonard on Sea in 2014.
2005
The video Stillness explores the fluidity of the boundaries between the inside and the outside by using a transparent, spherical glass container filled with ink, immersed in water. The work shows a very slow transfer of black ink into water. The image, which at times seems almost still, is in continuous transformation. Gradually, the object disappears into blackness, leaving behind a reflection of its surroundings. The projection, shot in real time, lasts over an hour, is in a loop and is projected onto sandblasted glass.