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In a dialogue between digital technologies and early nineteenth-century landscape painting this video meditates on the relationship between how one conceives and how one represents the world. It considers the importance of the several stages John Constable’s conceptions underwent in developing his 1829 painting Hadleigh Castle (currently living in Connecticut)—drawing, study, full-size sketch, final work, its migration into lithographic print—and how the manual process of painting allowed the artist to refine pictorial solutions that were convincing in his age to the newly problematic nature of the world's transience.

The video present a parallel hands-on engagement with digital technologies, where the manipulation of the four photographs from which is it composed, although it may appear digitally achieved, is the result of idiosyncratic physical processes.Constable made art at a pivotal moment in which conceptions of time and space were radically challenged. We live in an age in which technology has allowed as great a change in understandings of proximity and instantaneity. Not least this is evident in the instantaneous availability of images and information: the paintings which are the subject of the video are divided across continents, yet the artist didn’t need to leave his studio to make the work except to get tea.


1080 HD video, stereo sound