'68 / Mica & Glass or A counter-entropic exercise, as demonstrated by workers from a State Museum for Art
2008
8 minutes and 29 seconds 16 mm colour film loop (silent).
Ed1/4+ 1 AP

"In the organic world , for instance, soft tissue (gels and aerosols, muscle and nerve) reigned supreme until 500 million years ago. At that point, some of the conglomerations of fleshy matter-energythat made up life underwent a sudden mineralisation, and a new material for constructing living creatures emerged: bone. It is almost as if the mineral world that had served as a substratum for the emergence of biological creatures was re-asserting itself, confirming that geology, far from being left behind as a primitive stage in the earth's evolution, fully coexisted with the soft gelatinous newcomers. Primitive bone, a stiff calcified rod that would later become the vertibral column,made new forms of movement control possible among animals, freeing them from many constraints and literally setting them into motion to conquer every available niche in the air, in water, and on land. And yet, while bone allowed the complexification of the animal phylum to which we, as vertebrates, belong, it never forgot it's mineral origins: it is the living material that most easily petrifies, that most readily crosses the threshold back into the world of rocks. For that reason, much of the geological record is written with fossil bone." - De Landa, M. "A thousand years of nonlinear history" p. 26 -27, New York, 2000.

In the upper left corner there are two marks (> 1 cm) visible in the sky area which cannot be identified with certainty in relation to the rest of the scene. The inner of the two marks is most likely a moving bird flying either directly away from, or towards the lens, along the optical axis during the moment of exposure (1/15 of a second). It's exact height and distance are difficult to determine. The outer mark, only marginally smaller, but more clearly defined, is most likely a small curly hair, probably human, which settled on the surface of the film before or during exposure, leaving a trace line of unexposed film underneath it.
2008
Selenium toned silver gelatin print
64 x 54 cm
Ed 2 of 4 + 1 AP

"It is comparatively easy to set up a basic model for epic theatre. For practical experiments I usually picked as my example of completely simple 'natural' epic theatre an incident such as can be seen on any street corner: an eyewitness demonstrating to a collection of people how a traffic accident took place"
-Bertold Brecht, "The Street Scene", Published in Willets, J. "Brecht on Theatre", London, 1964.

A variety of viewpoints from the corners of Meeker and McGuinness Blvds.
2008
Fuji Crystal Archive print
64 x 54 cm
Ed 2 of 4 + 1 AP

8.29 pm, The Jury chamber, from Twelve Angry Men. Andrews Lane Theatre, Dublin, 2001, 2003 Design by Catherine Sanki.
"In a way, this is almost formula theatre: put a group of people under stress in an enclosed space, and let them strip each other down. Done as well as it is here, there's a lot more to it." Gerry Colgan, Irish Times, Thursday, 8th of November, 2001.
1999 – ongoing
Selenium toned silver gelatin print
53.1 x 63.1 x 3.2 cm
Ed 1 of 4 + 1 AP

A tree, roughly constructed from painted plywood, for use in repertory productions of "Waiting for Godot". Photographed from a variety of positions on the stage of the Gate Theatre, Dublin in 2002, and 2004. The tree was designed and made under the direction of Louis Le Brocquy (1916 -), the last surviving and most celebrated Irish Modernist Painter. The Irish Times writes: '...greeted with standing ovations from capacity audiences in Zellerbach Playhouse when last seen in Berkeley in 2000. "Definitive, not just in Irish but in global terms...the closest we will ever get to the perfect official Godot".
'2008
Fuji Crystal Archive print
64 x 54 cm
Ed 2 of 4 + 1 AP

A tree, roughly constructed from painted plywood, for use in repertory productions of "Waiting for Godot". Photographed from a variety of positions on the stage of the Gate Theatre, Dublin in 2002, and 2004. The tree was designed and made under the direction of Louis Le Brocquy (1916 -), the last surviving and most celebrated Irish Modernist Painter. The Irish Times writes: '...greeted with standing ovations from capacity audiences in Zellerbach Playhouse when last seen in Berkeley in 2000. "Definitive, not just in Irish but in global terms...the closest we will ever get to the perfect official Godot".
'2008
Fuji Crystal Archive print
64 x 54 cm
Ed 2 of 4 + 1 AP

The reverse of a framed painting. Catalogue No. KMS 1989, Collection of the Statens Museum for Kunst, Copenhagen. Item dimensions: 66.4 x 87 cm. Item age: 348 years. Reproduced at 56.25% of original size.
2008
Selenium toned silver gelatin print
64 x 54 cm
Ed 3 of 4 + 1 AP

The earth after the fall of man. Catalogue No. KMS 1899, Collection of the Statens Museum for Kunst, Copenhagen. Item dimensions: 64.5 x 82.5. Item age: 318 years. Reproduced at 55% of original size.
2008
Selenium toned silver gelatin print
64 x 54 cm
Ed 3 of 4 + 1 AP

*ZAN -T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6, 19 (1969 -Feb. 1972); (Andy Warhol's (Interview) v.2, no. 21 - v.3, no. 9
2007
Single channel HD projection
Ed 1 of 4

*ZAN -T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6, 19 (1969 -Feb. 1972); (Andy Warhol's (Interview) v.2, no. 21 - v.3, no. 9
2007
Single channel HD projection
Ed 1 of 4

*ZAN -T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6, 19 (1969 -Feb. 1972); (Andy Warhol's (Interview) v.2, no. 21 - v.3, no. 9
2007
Single channel HD projection
Ed 1 of 4

*ZAN -T185 r.1: (Interview) v.1, no. 4 - v.2, no. 6, 19 (1969 -Feb. 1972); (Andy Warhol's (Interview) v.2, no. 21 - v.3, no. 9
2007
Single channel HD projection
Ed 1 of 4