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Materials: Ventriloquist's dummy with two heads, two cameras and electronics; 2 monitor works on DVD with headphones; DVD projection with stereo sound, book and shelf, mouth photograph in perspex case.

The exhibition featured a newly commissioned DVD work for Grundy, entitled Under the Influence of Magicians, which specifically draws on the ventriloquist phase of Seers work. The film plots the relationship between the artist's Aunty Barbara and Cyril Critchlow. Peter Seers (Barbara's brother and Lindsay's father) met Cyril ( a Blackpool magician)...


Eyes of Others | Gallery of Photography, Dublin | 28 October - 27 November 2005

Materials: Video projection, 22 minute DVD with stereo sound (Extramission 5), series of colour mouth photographs, ventriloquist dummy with electronics (Sailors Bill – commissioned by Arts Council and Gallery of Photography), book and shelf, monitor with headphones, 12 minute DVD (Intermission).

Gallery Statement

The work for this exhibition at the Gallery of Photography incorporated a performance, a publication as well as a series of works divided into two major parts and was in collaboration with Gasworks Gallery...


'Haunted Media' | Site Gallery, Sheffield | 7 February - 17 April 2004

Materials: Fiberglass ventriloquist dummy, cloth and electronics.

('Haunted Media' with Susan Hiller, Susan Collins, Scanner, Thompson/Craighead, S Mark Gubb)

'Haunted Media', Site Gallery brochure:
'An exhibition of electronic media artworks examining the association of new media with supernatural phenomena. From the use of photography, ostensibly to document the dead in spirit photographs, through to the invention of the telegraph, radio and the introduction of television and computers – new media has consistently...


Materials: Camera obscura in fabric and cast iron, paper trees, fan; negative photographs (cross-processed cibachromes), VHS projection and VHS monitor work, two headed dummy with electronics.

Excerpt from: gallery booklet. Author: Lindsay Seers.

"The whole difficulty of the problem that occupies us comes from the fact that we imagine perception to be a kind of photographic view of things, taken from a fixed point by that special apparatus which is called an organ of perception – a photograph which...

Materials: photographs 25cm²  mounted on aluminium, ventriloquist dummy; 2 x 12 minute VHS video work on a monitor; one night screening outside of 12 minute VHS work.

Whilst in Paraguay Seers documented the room in which she was staying, recording details which she believed would almost certainly be erased by time from her memory – quotidian things such as how a table leg meets the floor or the profile of a skirting board and so on. Somehow it seems possible that we have this detailed contingent information of things (in this case of the rooms we live in)...

Materials: framed R-Type photographs mounted on aluminium.

Excerpt from: Lindsay Seers' 'We saw you coming'; 20,000 leagues Under the Sea, Apollo 13 and '2001'. Author: Lisa Panting.

Beyond the innumerable resources of science, Verne invented an excellent novelistic device in order to make more vivid this appropriation of the world: to pledge space by means of time, constantly to unite these two categories, to stake them on a single throw of the dice or  a single impulse......


Materials: Fibre Glass pod, bolts VHS projection.

'Flow': Tim Head, Simon Faithful, Lindsay Seers. Curated by Richard Milner.

Excerpt from: We saw you coming; 20,000 Leagues Under the Seas, Apollo 13 and 2001. Author: Lisa Panting

In 2002 Lindsey Seers made a work called Photoscoptopus in response to a location, Pirates Castle on Regent’s canal, London. London’s canals have until fairly recently been a series of dilapidated arteries...

Materials: Ventriloquist's dummy with electronics, negative photograph, looped VHS monitor work.

Catalogue essay: Nausea: encounters with ugliness.
Excerpt from essay: Matter Over Mind? From nausea and disgust to the sublime (and back). Author: Mark Hutchinson.

The trouble for the ego as Mark Cousins puts it, is that everything exists twice: once as an outside and again as an inside. Normally the outside, the surface, fits perfectly over the inside. We are accustomed to the...


Materials: Camera obscura in cast iron and fabric with papier mache trees, fan; large scale mouth photographs.

For the Dead Travel Fast is a camera obscura/carriage, which looks out onto a constructed landscape of white paper trees. The viewer is given two very different versions of the work, one as object and the other image. The image is inverted and feint  captured on a screen shaped like a small window in the interior wall of the darkened carriage wall. The walls of the victorian gallery itself are painted dark grey so the camera obscura image gives the...


The Double | The Lowry Centre, Salford | 1 April - 30 September

(with Thomas Ruff, James Reilly and Alice Maher)

Materials: Ventriloquist's Dummy with stool and electronics, vacuum formed wall mounted sculptures, curtain, R-Type photographs and cibachromes mounted on aluminium.

Exhibition catalogue: The Double  (Art at the Lowry), Gilda Williams (2000)
Excerpt from introduction by Emma Anderson

"Lindsay Seers’ work takes ambivalence to extremes. Preoccupied by using herself as the subject of her work: she photographs herself in a series of eerie,...