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Nowhere less now² | 2013

Nowhere less now²

For additional images and text you can also go to Exhibitions page:

http://www.lindsayseers.info/exhibition_node/360

Materials: wood, cardboard, polystyrene, metal, clouts, 2x HD projectors, metal masks, 2x macmini, 2 x 27minute HD films, stereo sound delivered through headphones on internal gallery system (The O). 22 minute 5.1 sound installation in the tunnel and a collection of 16 figurehead drawings.

 

 

Nowhere less now² is the second chapter in a trilogy, the first part of which was exhibited in the Tin Tabernacle, Kilburn, London.

It is difficult to leave this work and accurately recall exactly what has been recounted - but this is not its failure, it is precisely its point. Given that Seers' seems to believe that every moment in time is so dense with mental and physical information that we can not consciously account for it - the onslaught of her work seems to draw attention to how we constantly scope across time and space in irrational and non-sequential patterns (which we do not consciously realize) in order to create a highly selective, partial and constantly evolving fictional world view, one which is at least navigable if inaccurate. If we remove these filters what is consciousness like? How much reality can we take or perceive? In the work, housed in an upturned ship, we meet a man who believes he has inherited his two differently coloured eyes from Lachlan Macquarie, a gambling sailor great great uncle who jumped ship and another with two differently coloured eyes, a woman from London possessed by a captain who seems to resemble Henry Morton Stanley - to name but a few.

During the process of unearthing latent narratives for the work Seers, ensconced herself in the National Archive in Kew for months, trawling through thousands of boxed photographs which were all registered for copyright in the period that her relatives were on the naval ships. The most photographed man of 1890/91 was Henry Morton Stanley. She found her George standing behind Stanley in Zanzibar in a group photograph in one of these boxes. But the work does not sit in the past with these aging sepia images, it moves across time  - it is partly set in the present and also the future where another George with heterochromia searches for his genetic heritage in a world without archives.

These collaged narrative streams move across the spherical convex and concave screens of the installation like a phantasmagoria. The flow of images slip into abstraction and reform into footage snatched from the material world as Seers physically journeys to hunt down any trace of this past. The upturned ship which contains the film is embellished with a figurehead based on eighteenth century figurehead drawings she discovered in a collection held in Tasmania (originally made in Plymouth UK). The question of memory and truth, the reduction of mainstream film to story over narrative and the function and magic of the image continue to pervade her work at every level.