An Old Woman Named Candide Crosses the Street

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An Old Woman Named Candide Crosses the Street

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An Old Woman Named Candide Crosses the Street (Sculpture)

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Polling station gates

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Rubble from a Bombed Chippy

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L1A1, Standard Rifle used by British Army in Northern Ireland (Among Other Places)

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Snap Together fence

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Gordon's Gin

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Olmeca Tequila

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Brian

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Crysler PT Cruiser

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Men with Cocktails

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Motorbikes (Video)

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Satellite Grid with Sweet Packet Colours

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Satellite Grid with Sweet Packet Colours

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Satellite Grid with Sweet Packet Colours

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Satellite Grid with Sweet Packet Colours

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Tayto Crisp Colours for Variations of Cheese & Onion, Ready Salted, Salt & Vinegar, Woster Sauce, Smoky Bacon, Pickled Onion & Spring Onion

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The Cutts, Dunmurry, Belfast, BT17 9HN

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The Cutts, Dunmurry, Belfast, BT17 9HN

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The Cutts, Dunmurry, Belfast, BT17 9HN

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2 Airport Road, Belfast, BT3

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2 Airport Road, Belfast, BT3

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2 Airport Road, Belfast, BT3

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Milton Friedman's Brick

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Diverted Traffic

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Diverted Traffic


Diverted Traffic uses conflations between Northern Irish and Canadian versions of The Troubles in order to reveal the inconsistencies of narrative between the lived experience of those within Northern Irish society both before and after Good Friday Agreement (1998) N.I. and the historical documentation of it and its coming about. Diverted Traffic interrogates the objective role assumed by the archive and through six chapters calls into question;

The presumed objectivity of documentarian aesthetics,

Conflations between outsider and internal perceptions of political violence and the role of commerce in the dissemination of geo-specific history,

The mediation, and through such mediation; accessibility of geography and geographic navigation systems,

The inconclusiveness of cartographic understandings of land

and the role of economics (specifically North American - N.I. industrial relationships) in the creation of political and historical narratives.

The work aims not only to dismantle ineffective means of understanding histories but to propose new ones which may/may not reiterate the incompleteness of this type of world/building; ultimately trying to draw to our attention the many ways in which our ideas of space, time, economy and history are being diverted.

With images pulled (at least in their conception) from a variety of internet sources, Canadian archives and global satellite databases, the project treats history as a set of tools for picking apart and understanding narrative. And through this lens, creating and proposing new or abstract means of engaging with this system; dissecting the ways in which these tools allow us to engage with history by focusing on qualities like colour, form, poetics and illegibility/ambiguity within images in order to turn away from pre-conceived methodologies for extracting information (in the context of looking at images). The project asks the viewer(s) to engage with the materials presented like an evidence board; one in which the longer you look, focus begins to shift from the documents to the strings connecting them, allowing functionality to fall away while the fragility of this type of narrative web is left exposed. 

Installation at OCADU Thesis Space 2017

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Using Format