Face Up (2015).
This multicomponent output comprises: Face Up (2015), a single-screen video work; a photographic portfolio; a book chapter on the methodological approach and insights of the video. The main output component is a single-screen video work of fictional scenes, based on snatches of conversation overheard while travelling through London on foot and public transport. As characters negotiate their lives, they inhabit two worlds – the physical and the virtual – and smartphone technologies become an extension of the self. The video reflects our use of smartphone applications in that it is conceived as six scenes or “idents”, created as silent, stop- animations of digital photographs and short texts, using a vertical HD format, with each scene projected randomly. The installation also includes three photographic prints. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qq895
- Type
- T - Other
- DOI
-
-
- Location
- Screenings and other details are listed in the portfolio.
- Brief description of type
- Other: Multicomponent
- Open access status
- Out of scope for open access requirements
- Month
- November
- Year
- 2015
- URL
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-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Kempadoo’s research focused on smartphone imagery in order to reflect multicultural urban life and the experiences of the diasporised self, addressing imagery deploying smartphone aesthetics in artistic production. Overheard dialogue on smartphones shaped the diasporic story lines, and led to technical research with a programmer in order to develop a novel visual approach.
The methodological approach explored in written form considers the seductive, hypervisualised space of self and screen associated with the city, as a perpetual line of sight, a physical and virtual urban experience and environment. Central to this space is the racialised and diasporised networked body on the move, precarious in her condition and affective in the performative encounter with herself and others. These insights developed across the visual/written artwork reflect London as a supercity in which migration for work opportunities or to escape danger abroad is commonplace yet, for many, remains precarious.
Exhibition venues included Lethaby Gallery, Central Saint Martins (2015), Aljira Center for Contemporary Art, New Jersey (2016) and others.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
