Works

How This Works, 2010
‘HOW THIS WORKS’ IS A THREE SCEEN WORK  EXPLORING  THE DIFFICULTIES IN ASSESSING OUR SOCIO-POLITICAL RELATIONSHIP AND QUESTIONS HOW MUCH influence we as citizens have in shaping the society we live in.
‘HOW THIS WORKS’ INVESTIGATES THE EMBEDDED CULTURAL HISTORIES ASSOCIATED WITH NOTIONS OF SITE, ARCHITECTURE AND ARTEFACTS.  THE FIRST SCREEN TAKES PLACE IN A DOMESTIC SETTING REPRESENTING HOW THE POLITICAL EXISTS WITHIN THE PERSONAL. THE SECOND SCREEN EXAMINES SYSTEMS OF ORDER AS A CHOREOGRAPHED GAME IS PLAYED OUT  BY HUMAN PLAYERS. THE THIRD SCREEN IS AN EXPLORATION OF THE FREEMASONS GRAND CENTRAL LODGE, THE ROOM WHICH HOLDS THEIR SECRET MEETINGS, AND THE ARTEFACTS HOUSED WITHIN IT.
40 Winks of Certain, 2011
40 Winks of Certain explores the difficulties of the unknown within our past, present and future and our inevitable struggle to gain control over these uncertainties in a world of constant flux.
Taking footage from the past, a 1964 episode of Horizon featuring Arthur C Clarke discussing his predictions of the future. Producing photographs to capture moments from the present day, 2011, and Smith’s own attempt to capture footage of the future, 2011- onwards.
THE ALTERNATIVE IS…,2012 ( SCREEN 1)(SCREEN 2)
‘THE ALTERNATIVE IS…’ IS A TWO-CHANNEL HD VIDEO WHICH FOCUSES ON THE ESTABLISHMENT OF THE PIRATE RADIO STATION RADIO CITY AT SHIVERING SANDS WWII ANTI-AIRFIELD FORTS ON THE THAMES ESTUARY. PIRATE RADIO EMERGED ALONGSIDE OTHER ANTI-ESTABLISHMENT ORGANISATIONS THAT ERUPTED IN THE 1960S. THIS PIECE EXPLORES A MOMENT WHEN A SECTION OF SOCIETY TAKES CONTROL. IN THIS CASE, RADIO CITY TOOK OVER ITS CHANNELS OF  INFORMATION BY RADICALLY REFUSING TO OPERATE WITHIN THE LEGAL BOUNDARIES THAT OPPRESSED FREEDOM OF SPEECH.
THE FIRST PART OF THE WORK FOCUSES ON A HISTORICAL RECONSTRUCTION OF RADIO CITY. THROUGH A COMBINATION OF INTERVIEWS WITH EX RADIO CITY DJ  TONY PINE , ON-SITE FOOTAGE, ARCHIVE MATERIALS AND PHOTOGRAPHS IT ASKS THE VIEWER TO CONSIDER THE UTOPIAN POSSIBILITIES OF THIS REMOVED SOCIETY.
THE SECOND ELEMENT IS AN ARTISTIC RESPONSE TO THIS HISTORY; IT PRESENTS A GATHERING OF PEOPLE, EACH CARRYING AN ITEM AS THEY SEPARATE THEMSELVES FROM THE MAINLAND TO START THEIR NEW SOCIETY IN SEARCH OF NEW WAYS OF BEING.
They have idealistic notions of being
THEY HAVE IDEALISTIC NOTIONS OF BEING, 2013
‘THEY HAVE IDEALISTIC NOTIONS OF BEING’ ADDRESSES THE IMPOSSIBILITY OF COHERENTLY IDENTIFYING THE REALITIES OF CONTEMPORARY WESTERN POLITICAL LIFE AND CONSIDERS THE EXISTENCE OF PERSONAL REPRESENTATION WITHIN THIS PARADIGM.
A PRIME FOCUS OF THIS WORK IS THE ENACTMENT OF THE CREDIT INSTITUTIONS STABILISATION BILL, 2010. THIS BILL CALLS FOR THE CENSORSHIP OF ALL DEALINGS BETWEEN THE IRISH MINISTER OF FINANCE AND ALL FINANCIAL INSTITUTIONS.
We are here to go, 2015, 4k video
WE ARE HERE TO GO 2015 (work in progress)
‘We are here to go’, is a  work based on the Beat generation artist and writer Brion Gysin. Gysin was a promoter of the cut-up writing technique in which a text is spliced and rearranged offering new readings and interesting juxtapositions. ‘We are here to go’ aims to question how we create meaning, how we understand one another and misunderstand one another, communicate and miscommunicate. Considering what happens when slight changes or rearrangements of perspective alter our understanding.
The Artefact, 2014, HD video
 THE ARTeFACT, 2015 ( work in progress)
‘The Artefact’  examines how we deal with places associated with conflict and death. Taking various locations including the berlin wall as  examples of  previous sites of oppression that have since been transformed into tourist destinations. ‘The Artifact’ examines what happens in the aftermath of death and how its associated sites, objects and archives are enjoyed and digested.

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