Artists’ information

Lucy Reynolds’ Silo Walk recalls Greenham Common’s past as an American air base and the site of a ten
year battle between female anti-nuclear protestors, the military and British government during the 1980s.
Reynolds’ double screen film projection Silo Walk attempts to map four women’s remembrances amongst the
dotted lines and demarcations of the official history.

Lucy Reynolds is an artist, film lecturer and curator. She has written articles on artists’ moving image for
journals such as Afterall, Millenium Film Journal and Vertigo. She has curated film programmes for Tate
Modern and Mukha, Antwerp and teaches the history and theory of cinema and artists’ moving image at
Central St Martins, Kingston University, the University of Westminster and Goldsmiths College, London. Her
own films, performances and installations have been shown at the National Film Theatre and galleries in
London and Europe.

Tim Head’s work focuses on the digital medium’s elusive material substance and on our evolving relationship
to it as a physical entity. Bypassing its usual role of representing images and texts, the work deals directly with
its basic material elements - the luminous fabric of pixels on a screen that are capable of displaying over
sixteen million RGB colours, and the hidden calculations of the computer operating at ultra fast speeds that
drive these elements. The medium’s underlying material substance is exposed, moving it out from its usual
confinement in virtual space towards the same physical space that we ourselves occupy. Computer programs
for the digital projections are written to generate unique events in real time. The unsettled surfaces of the
projections are composed of randomly selected colours, each occupying a single pixel and filling every pixel
on the screen, and programmed to change or move in particular ways across the screen as fast as possible.

Solo exhibitions include MOMA, Oxford [1972], Whitechapel Art Gallery, London [1974], Arnolfini Gallery,
Bristol [1975], Henie-Onstad Kunstcenter, Hovikodden [1978], Kettle’s Yard Gallery, Cambridge [1978], ICA,
London [1985], Whitechapel Art Gallery, London [1992], City Art Gallery, Manchester [1993], Kunstverein
Freiburg, Kunstverein Heilbronn, Stadtgalerie Saarbrucken, Kunstverein Braunschweig [1995], Huddersfield
Art Gallery [2009], Kettle’s Yard Cambridge [2010], Wilkinson Gallery, London [2011]. Group exhibitions
include Documenta 6, Kassel [1977], ‘British Art Now’, Solomon R. Guggenheim Museum, New York and
Royal Academy, London [1980], British Pavilion, Venice Biennale [1980], 15th John Moores Liverpool
Exhibition – awarded 1st Prize [1987], ‘Days Like These’, Tate Triennial, London [2003]. ‘The Indiscipline of
Painting’, Tate St Ives and Mead Gallery, University of Warwick [2011-12]. Public commissions include
National Media Museum, Bradford [1985], Science Museum, London [1995], Artezium Arts and Media
Centre, Luton [1998], Department of Biochemistry, University of Oxford [2008].

Lee Holden’s video work I Used to Think, like all his work, examines the powerful influence mainstream culture
has upon the social conditioning of a person’s mental state and emotional well-being. Utilising found footage,
he focuses on how the mass media construct and define conditions of normality, contingent on the
engineering of an individual’s sentiment and nostalgic response. Holden aims to exploit the 'Monoform', a
term coined by the filmmaker Peter Watkins to describe the techniques of contemporary propaganda, and
further examines the operations of advertising, television news, the National Lottery and other stereotypical
forms of address, so as to lay bare the fundamental contradictions inherent in their production and

Lee Holden has exhibited widely at both national and international venues. His solo show Hoax! in 2008
showcased a large-scale multimedia exhibition at Magazin4, Bregenz Kunstverein in Austria and included a
catalogue publication. Recent exhibitions include, one-person show at Shift gallery, London (2011), video
work in Off Loop at the LOOP (The Screen from Barcelona Festival) 2011, a site-specific work in JTP10 held
at the James Taylor Gallery, London, and video work in The House of the Noble Man, (across From Frieze Art
Fair 2010).

Mariele Neudecker’s work employs the cultural phenomenon of Romanticism and its elevation of nature and
landscape into vehicles for emotional transcendence, philosophical contemplation and cultural identity. The
glass vessel pieces seem to come from another time, yet also refer to notions of the sublime as contained
within some sort of experiment apparatus. Like Casper David Friedrich, Neudecker’s places the human
element in diminished perspective, yet while seeming to embody the viewer's own desires, while also
presenting the landscape as a scientific experiment.

By replicating the airplane black boxes, the flight recorder series Final Fantasy, seem to contain the
tantalising promise of recorded truth, ultimate knowledge, of insight free from illusion – at the same time one
is perfectly aware of their and our superimposed conceptual construction. They are not trying to be exact
replications, hence there are subtle changes in scale and solid colour or transparent materials.

Mariele Neudecker lives and works in Bristol, UK. Neudecker has recently been short-listed for the Fourth
Plinth, Trafalgar Square, London, was prize-winner at the 11. Triennale Kleinplastik – Larger Than Life -
Stranger Than Fiction, Fellbach, Germany). In 2011 she exhibited in three international group exhibitions:
Otherworldly: Artist Dioramas and Small Specacles, MAD Museum, New York, USA, Screaming From The
Mountain: Landscapes and Viewpoints. curated by Pontus Kyander, Sörlandets Kunstmuseum, Norway and
Rohkunstbau – Power, Marquart Castle, Berlin, Germany. She is represented by Galerie Barbara Thumm,

Nooshin Farhid is a British based Iranian video artist. Conic Trilogy 2009-10 is based on a mathematical
concept involving the interaction of surface and curve: Parabola, Ellipsis and Hyperbola. However these
words have, in Greek etymology, non mathematical meanings referring to ‘fictitious narratives’, ‘missing
words in a sentence’ and extravagant statements’. This ‘crossing over’ between mathematical and non
mathematical meanings reflects Farhid’s approach to video making which is complex and explores
multiplicity, her images being sourced from a wide spectrum of material including real time footage filmed on
Orford Ness and an eclectic assemblage of found footage. Allied to this is her engagement in the political and
the ramifications of conflict. This rich mix leads to a series of interweaving narratives were journeys are begun,
trails go cold only to reappear in another guise, there is a suggestion of entanglement and betrayal,
surveillance and suppression.

Nooshin Farhid was born in Tehran, Iran, she lives and works in London. Her work has been recently exhibited
at Marrakech Biennale, Morocco 2012, 1st International Video Art Festival, Qatar 2011, Beaconsfield London
2011, On Becoming a Gallery, Angus-Hughes Gallery, London 2011, Upstream Gallery, Amsterdam 2011 and
Limited Access 3, Mohsen Gallery, Tehran, Iran 2011

Richard Ducker’s Dark Matter sculpture series appear to quote a monochromatic tradition, but on close
inspection the black shards, insulating material covered in flock, have just as much in common with the
discarded props of a pre-CGI sci-fi movie, when such concoctions had to make do as interstellar debris
floating in deep space or the rough surface of a new planet.’ The ink drawings are worked from images off the
Internet (newsreel, mobile phone up loads, etc) of lingering smoke after explosions taken from current
conflicts. Rather than trying to represent horror with horror, their scale is deliberately small (postcard size) as a
means of reducing its sublime to pocket size, while returning the digital image of convenience to studied

Richard Ducker is an artist, curator and lecturer. He has exhibited widely through out the UK and
internationally, including the ICA, London; Kettles Yard, Cambridge; Serpentine Gallery, London; Royal
Academy, Edinburgh; Mappin Gallery, Sheffield; The Yard Gallery, Nottingham; The Kitchen, New York;
Flowers Central, London; Cell Project Space, London; Katherine E Nash Gallery, Minnesota, USA; Standpoint
Gallery, London; and Anthony Reynolds Gallery, London.

Southwark Park
London SE16 2UA
United Kingdom
Phone: +44 (0)20 7237 1230
for further information and images, please contact: Vivien Harland: