strict warning: Declaration of content_handler_field_multiple::pre_render() should be compatible with views_handler_field::pre_render(&$values) in /home/lindsayseers/public_html/sites/seers-dev.dev.freewayprojects.com/modules/cck/includes/views/handlers/content_handler_field_multiple.inc on line 0.

Exhibitions

2002

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...

2001

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...

2000

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,...

1999

Materials: Ventriloquist dummy, vampire photographs (mouth); negative photogtraphs; anamorphic TV, silvered glass standing on screen with VHS loop.

Excerpt from: Autocannibal: Lindsay Seers, Contemporary Visual Arts issue 24. Author: Roy Exley.

In her show Autocannibal at Laure Genillard Gallery, Lindsay Seers has turned photography into a rogue process. The idea that the photograph’ consumes the world and its discreet moments’ has been give embodiment – the medium’s...