:

 Selection of works for DYCP application  

1. The Ballards and Damp and Buttery
2. One, 2, 3
3. We Are the Road

For more work and full CV please follow link to the main website here

The Ballards and Damp and Buttery

02:30 (2024)

‘The Ballards and Damp and Buttery’ (02:30, 2024) folds three small sections from the the text, ‘Victory Monument to the Vanquishing of the Artists by the Engineers’ (publishjed  in ‘Wait With Your Friends and Do Your Best to Stay There’) into some of the material that shaped it, namely, sub broadcast recordings of lectures and discussions produced by the engineering departments of significant organisations and institutions. Built of text, wildly unstable and utterly unbuildable in any traditional sense, ‘Victory Monument to the Vanquishing of the Artists by the Engineers’ prematurely announces and undermines the win.

'One, 2, 3' (extract)

72 pages
182 mm x 128 mm
90 mm cover flaps
Format: Paperback
ISBN 978-1-9993276-2-0


Exploiting forms that traditionally get burnt up in the production of the moving image, Jenna Collins' One, 2, 3 moves through sequences of writing that dramatize the small but necessary acts of theft and invention that shape a story in its telling. In this case, one that navigates the legacy of a dead female writer and the task of being a living artist.


In Jenna Collins’ One, 2, 3 an inexplicable locating occurs. We are led into rooms, views, situations and scenarios with no real notion of how we came to be wherever we are but at the same time finding ourselves as the unwitting witness to certain meticulousnesses, certain claustrophobic, often absurd, unbalancings, events, processes. The possibility appears to be offered of dipping one’s fingers into the pockets of the text and running off like a thief and indeed the placing of incidences, sometimes faintly mirroring, sometimes set inside - or resting obliquely against - the other, does leave the reader free from consecutive narrative but at the same time, oddly trapped even implicated in what unfolds and what doesn’t.

- Paul Becker

We Are the Road

10:15
(2017)

In 1987, Stewart Brand wrote an evangelical account of the MIT Media Lab in which he asserted, ‘If you are not part of the steamroller, you are part of the road’. In this brutal formulation, the producers of technologies (the steamroller) are active and the consumers (the road) are passive. 

'We Are the Road' presents a series of sequences, imaginative expansions of situations in which filmmaking and its spaces, activities and histories register as a defining presence; and of electrical and computer industry archival materials that relate to moving image and recording technologies, accumulating into a collage of unreliable recollections.

'We Are the Road' considers the position of the viewer and occupies the space of ‘the road’. It takes the activity of the viewer at the moment of viewing seriously, seeking to voice, thicken, complicate and formally double the encounter, refuting the notion that anything about this activity is passive.

- London International  Film Festival BFI, London (2018)
- Videographic Entanglements conference, University of Huddersfield (2023)
- Screening; ‘Technologies pf the Self’ LUX Scotland (2019)
- Casa Victor Hugo, Havana, Cuba. October (2017)
- Gotland Art Museum, Visby, Sweden (2017)