In Bleurgh, Heather Phillipson’s solo installation for Space Release, a quartet of videos and viewing constructions maps out the brain-gut interchange. They are an invitation along in-roads into the body-mind’s canals. The gallery becomes a nervous system, composed of wiring, audiovisual noise and outlying islands. The viewer is an innerspace visitor, segregated from the digital-physical components and asked to lean into them. Positions are vertiginous or recumbent, but probably not comfortable.
Phillipson’s videos are organs that fidget and limbs that scratch their own surfaces, trying to figure out their limits. The flow is constant – pictures, facts, graphics, voices, glances, black-outs, suggestions, promotional wave-particles. Incisions and distortions. They are either arguments against themselves or just the noise the brain makes. The result is a borderline condition – the gravelly interface between know-how and know-nothing. Just as we feared from the start.
Heather Phillipson is a London based artist who works with video, sound, text and live events. Heather’s work and performances have recently been shown in exhibitions including EYE MUSIC FOR DANCING, Flat Time House, London; London Open, Whitechapel Gallery, London; Remote Control (with Auto Italia), ICA, London and Performance as Publishing, Kunsthalle Basel; Seeing in the Dark, CIRCA Projects, Newcastle (2011) and SWITCH, BALTIC 39, Newcastle (2012). Heather also participated in Pool: An Observer’s Guide to the Garden Marathon (with Will Holder), Serpentine Gallery, London.
She is also an award-winning poet, published by Faber and Faber in the Faber New Poets series. Her book-length text, NOT AN ESSAY, will be published by Penned in the Margins in December 2012 and her collection of poems, Instant-flex 718, will be published by Bloodaxe in April 2013. Heather was a participant in the LUX Associate Artists Programme 2011–12.