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Artist Information

 

Gill Addison

Country(activity based):
United Kingdom
Genre:
Visual Art

Profile

Graduated from M.A Independent Film UAL in 2000 and M.A Fine Art (RCA, London) in 1991.
Recent 5 main activities (personal exhibitions, group exhibitions, concerts) are
- "Virtu", Group, Hunt Museum, Limerick, Eire (city), 2017
- "Panoptic", Group, Chongquin Creative Festival, ADC Art Square, Chongquing, China,(city), 2016
- "Parallax 2", Group, Chelsea College of Art, London, UK , 2016
- "Parallax" ,Group . New Space, Academy of Fine Arts in Katowice, Poland, 2015
- "Suppose an Eye", Group, Vane Gallery, Newcastle, UK. 2013

Other activities are
- Senior Lecturer in Fine Art, Chelsea College of Art (to date)

- MEAD Phd Scholarship 2016 British School at Rome

- Convener of Chelsea Film Forum (UAL), Commissioning editor of Art in Sight -Filmwaves magazine 2003/08

My practice is situated within the context of moving image. Critical focus is posited towards an examination of the research processes and strategies used within the field of artist's film and video practices and histories. Recent projects, texts and presentations have negotiated 'how' and 'where' research manifest as an activity, event and material within and alongside filmic works.

About works / performance

Gill Addison_Talked.jpg

Talked About Pink, Still, 2011/2017, 35:00mins, © Gill Addison/Pool Productions

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Work-Out, Installation view, 2016, Video, Printed material, © Gill Addison

3.Gill Addison_Pavilion.jpg

Pavillion, Still, 2015, 15:00mins, © Gill Addison

4.Gill Addison_Win.jpg

Win or The Cynical Function of Ideology, Installation view, 2015, Video, Monitor 05:00 mins, © Gill Addison

5.Gill Addison_White.jpg

White Maelstrom White, Still, 2014, Video, 25:00mins, © Gill Addison/Pool Productions

6.Gill Addison_work out stills.jpg

Work Out, Still selection, 2016, © Gill Addison

Comment

I am interested in the narrativisation of research processes and the problematized positions such narratives can hold. Can research material simultaneously exist as object, method and documentation? As each new body of work forges a fresh narrative on an established practice, the dialogues in and around the working processes have increasingly become the 'work' I present. Often unresolved, always in flux, the works actively refuse to comply with historical hierarchies and definitions of research and practice. The works are formally and conceptual tethered to notions of repetition, the re-make and remembering while critically exploring location as dislocation. This has led to a practical and critical exploration of the ‘rehearsal’ as a trope within visual arts practice and research.
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