Multiplex Screening 1

This video briefly introduces the work of artist Tim Pickup on a Digital Arts MA at Camberwell College of Art.

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The final outcome of this project has been to render life-size, full colour sculptures of the space passed through by a human being in motion; effectively a long exposure sculpture.

The bulk of my time on the course has been spent working out exactly how to use a mixture of java programs and 3D modelling packages to convert animated motion sequences into a format that can be physically rendered. The final sculptures are constructed from over 1000 meticulously cut out and glued pieces of corrugated cardboard, which are then covered in papier-mache and painted. Apart from being a fun hands on solution, the contrast between the high-tech 'behind the scenes' calculations and the low-tech finish adds a friendly element of intrigue to the pieces - just exactly how were they made?

Throughout the course I have carried out experiments in long exposure digital photography and video as a means of checking progress, and have also contextualised my work by examining historical artists and scientists. The key inspiration has been the chronophotography of Etienne-Jules Marey, and the way in which twentieth century avant-garde artists, and in particular the Italian Futurists, interpreted his images almost exactly 100 years ago.

I have chosen to model two actions which both address issues of balance. One piece models the artist falling off a plinth (or has he been pushed?), and in the other the artist vaults over the balcony of a stairwell. Both pieces could perhaps also be read as metaphors for my future life as an artist, which too is in the balance.

A classic high-class striptease performance takes it's time. Anticipation is at the heart of the experience and transforms what could be an instant gratification into a sensual process of revelation.
The film is involved with self-revelation and the tender process of transformation and the connections these things have with sexuality. Striptease is a diagram of time elapsing; a pattern of duration.

The piece uses technology very simply, which holds a great deal of appeal for me generally. Each picture has it's own audio track, so a different number of images, or a different delay between each image creates both a different film and automatically a different soundtrack.

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Striptease was originally made in response to a commission from Tank in 1999 and has since featured in various printed publications and screened as part of group Tank screenings including one at the ICA, London. This new version was made and screened in a private group show in London, March 08.

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Audio by Aaron Trinder and Tony Linkson.

See my other work here tonylinkson.com/

A video created in full HD by Olga Mink, commissioned by Schatten van Brabant.

A journey created with more then 5000 photo's, through Noord-Brabant. Showing brief moments of local history followed up by the futuristic idea of 'Brabantstad', this video simulates a rollercoster ride through 5 cities, in full speed.

Thanks to: Mauritius Seeger, Katie Bogdanska, Rene Pare, Provincie Noord-Brabant. Music By Scanner.
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Long exposures of bugs under a street light.
music: Telefon Tel Aviv - What's The Use Of Feet If We Haven't Got Legs

This is an off-shoot from a visual performance accompanying the Rambert Dance Company at the Queen Elizabeth Hall, South Bank, London UK. Originally a flat-e (flat-e.com) project, they approached me to create abstract visual layers containing subtle hints of human forms and motion, which could tie in with the movement of the dancers on stage. Working with footage of the dancers, I got a bit side-tracked and started experimenting and digressing (after delivering of course ;).

The visuals in this video clip are not how they will be in the final Rambert performance (which has a different look & feel, as well as other elements filmed and created by flat-e). Neither is the soundtrack in this video clip the music used in the actual Rambert performance, and is not what the dance was choreographed to. This is just a standalone piece born from working on the Rambert performance.

When the clip starts, you probably won't recognize a human shape at first, but your eyes and mind will be searching, seeking mental connections between abstract shapes and recognizable patterns, like looking for shapes in clouds. You'll be questioning what you see, is that him? is he sitting? is he crouching? is he kneeling? until all of a sudden, he'll be crystal clear. Then you'll try and keep him in focus, following him as he moves around, tracking each limb, using his motion to construct an image of the parts you can't see. He'll fade in and out of clarity. At times you'll be clinging onto just the tip of his hand swinging round, trying to identify any other recognizable parts. You might see another arm or leg and grab onto it, fighting not to lose him. Then he'll be crystal clear again, and then all of a sudden vanish, literally in a puff of smoke, and your eyes will start searching again...

Created with a custom app written in C++ with openFrameworks (openframeworks.cc).

more information at memo.tv/reincarnation

The dancers are Robin Gladwin and Miguel Altunaga. Choreography by Alexander Whitley.

rambert.org.uk/about_rambert/dancers/alexander_whitley
rambert.org.uk/about_rambert/dancers/robin_gladwin
rambert.org.uk/about_rambert/dancers/miguel_altunaga