Over the length of a slow tracking shot through the building, observations about a variety
of subjects are narrated, from descriptions of corroded brickwork to politics and
economics of London housing to personal experience of this type of house. This stream
of consciousness moves between fact and dream, now closer and more intimate shared
thoughts and then expanding through space and time - global and historical
Tom Wolseley weaves a rich narrative, exploring our multifaceted relationship with
architecture, in order to embroider the cinematic representation of the building.
Soundtrack by Musician Steve Kidd.
Originally part of a site specific installation 11 New Quebec Street has been re edited
as a short film. 24 mins.
A Road Movie, through the centre of London, in one continuous take, with personal, political and economic observations triggered by the passing scenery of the city.
Sponsored by the Arts Council. Originally an art installation in The CABINET, a recycled shipping container in Shoreditch London. Re-edited for screen presentation 2015
With Thanks to:
Martine Drozdz (social geographer), Kristen Eglinton (ethnographer), Alex Howe (cinematography), Clare Moloney (production) and Carolyn McDonald.
Note: This film is shot at 50 frames per second. Unfortunately on Vimeo it can only be played at 25fps, with a slight loss of quality/smoothness.
House records quite simply my relationship to buildings, using a very slow tracking shot through a semi derelict Regency Town House in London, and a narration exploring aspects of that relationship, from the personal to the political.
for more information about my other projects see: architrope.com
In a collaboration with Yukon resident Bill Donaldson, Tom Wolseley has produced Caveman Bill, a slow 360° panning shot of the inside of Bill’s cave, which he has lived in for the past 15 years. As the camera pans around the cave Bill narrates the stories of all the objects we see, from a cool-box he found floating down the Yukon river, to a stove he inherited from 2by4 Bob. The stories and objects both confirm and deny romantic fictions and everyday realities of Bill’s life in the far north.
'In a city I have lived in for 30 years a transformation is occurring. It is at once obvious, in its massive demolition and construction, yet beyond my experience and understanding. It is all too easy to simply identify this change with a new sublime of global capital. Vertical Horizons tries to expand how the Shard, as an event, is grounded in the complexity of the city, our experience and lives within it’.
Vertical Horizons, In the Shadow of The Shard, is a meditative film about Western Europe’s tallest building. Artist filmmaker Tom Wolseley juxtaposes views of the Shard from different vantage points around South London with contrasting narratives about the building and his own response to living in its shadow.
Does ‘showing that London is open for business’ produce these iconic buildings that are less products of capital than conservative political ideologies? In turn are these architectural projections of an imagined future predicated on nostalgic national and personal modes of identification?
The film asks questions about the relationship between the individual and the larger global dynamics that are manifesting themselves in the changing landscapes of major cities such as London.