Wicked Art Assignments _ with AHK & Valiz Publications
ManufacturingReality _ Spui25 UvA _ 25.03.2020
a Method for Blue Logic _ Filmtheater Kriterion _ 23.01.2020
info at rileyharmon dot com
selected work (2013-2018)
WIIWTHTWI:X (2018)
commissioned by the Festival of Dangerous Ideas, Sydney
in collaboration with Evan Blackstone
The Firewall Grove (2017 - 2018) 4K DCP, stereo sound
supported in part by Amsterdam Fonds voor de Kunst, Mondriaan Fonds, Fonds Kwadraat
Untitled set piece for The Firewall Grove (2017-2018)
escape hatch (2018)
escape hatch (2018) reverse detail
-detail2-web.jpg)
Dana 2012, (2016 - 2017) multiple editions each unique
50 cm x 50 cm x 52 cm, 3d laser scanned reconstruction of artist's destroyed backpack, cnc milled polyutherthane, polyester fiberglass, archival news plates, laser cut perspex
32nd International Biennale of Graphic Arts, archive MGLC; photo: Jaka Babnik
supported in-part by Mondriaan Fonds, STUDIO for Creative Inquiry, MGLC Ljbuljana
International Centre of Graphic Arts collection
closing performance (with DNK Ensemble) for James Beckett's Palace Ruin (2016)
Compression Artifacts (2015)
hydraulically compressed film set, custom animation and projection
160cm x 160cm x 3cm
photo courtesy GJ van Rooij
FLOTSAM, JETSAM, &
performance structure (with Koen Nutters, Seamus Cater, Gerri Jager, Tim Breukers)
photo courtesy Mattie van der Worm (2015)
Collaborative performance with DNK Ensemble during Come Closer public program on Oude Kerk Rooftop, Amsterdam
installation 'The Garden Which is the Nearest to God' by Taturo Atzu (2015)
photo courtesy Roel Brekelmans
a Method for Blue Logic (2014) 11' 2K DCP stereo looping film
Environment view, photo courtesy Roy Taylor
Review: Infinite Monkey Theorem – Metropolis M
A Method for Blue Logic enacts fantasies from Internet conspiracy forums, after the artist received emails claiming them to be an actress hired by the government to help fake a tragedy. Using these conversations as an instruction guide for self-genesis, a parallel universe is constructed. And as a personal response to a stranger, the film continually shifts between a strange loop of cinematic fiction and absurdist para-documentary.
a Method for Blue Logic (2014) at Your Time Is Not My Time (2015)
photo courtesy Cassander Eeftinck Schattenkerk, images courtesy de Appel arts centre, Amsterdam
Ghost Flowers – Herrmann Germann, Zürich
photo courtesy Showroom MAMA, Lotte Stekelenburg, Rotterdam
Performance for the launch of Warhol Museum's Figment (2013)
Passengers (2010 — 2014)
edition of 10, each unique
Passengers is a series of video works in which the artist has edited themself and others into scenes from Hollywood films, each of which is set in a car interior. The substitution is seamless, largely thanks to the performances and also the skilled technical execution. Both comic and sexually charged, the silence of the exchanges accentuates and heightens each facial expression and nuance, suggesting meaning and understanding between the characters.
Proxy, Or - Seventeen, London
Manufacturing
a Method for Blue Logic _ Filmtheater Kriterion _ 23.01.2020
info at rileyharmon dot com
selected work (2013-2018)
WIIWTHTWI:X (2018)
commissioned by the Festival of Dangerous Ideas, Sydney
in collaboration with Evan Blackstone
The Firewall Grove (2017 - 2018) 4K DCP, stereo sound
supported in part by Amsterdam Fonds voor de Kunst, Mondriaan Fonds, Fonds Kwadraat
Untitled set piece for The Firewall Grove (2017-2018)
escape hatch (2018)
escape hatch (2018) reverse detail
Dana 2012, (2016 - 2017) multiple editions each unique
50 cm x 50 cm x 52 cm, 3d laser scanned reconstruction of artist's destroyed backpack, cnc milled polyutherthane, polyester fiberglass, archival news plates, laser cut perspex
32nd International Biennale of Graphic Arts, archive MGLC; photo: Jaka Babnik
supported in-part by Mondriaan Fonds, STUDIO for Creative Inquiry, MGLC Ljbuljana
International Centre of Graphic Arts collection
closing performance (with DNK Ensemble) for James Beckett's Palace Ruin (2016)
Compression Artifacts (2015)
hydraulically compressed film set, custom animation and projection
160cm x 160cm x 3cm
photo courtesy GJ van Rooij
FLOTSAM, JETSAM, &
performance structure (with Koen Nutters, Seamus Cater, Gerri Jager, Tim Breukers)
photo courtesy Mattie van der Worm (2015)
Collaborative performance with DNK Ensemble during Come Closer public program on Oude Kerk Rooftop, Amsterdam
installation 'The Garden Which is the Nearest to God' by Taturo Atzu (2015)
photo courtesy Roel Brekelmans
a Method for Blue Logic (2014) 11' 2K DCP stereo looping film
Environment view, photo courtesy Roy Taylor
Review: Infinite Monkey Theorem – Metropolis M
A Method for Blue Logic enacts fantasies from Internet conspiracy forums, after the artist received emails claiming them to be an actress hired by the government to help fake a tragedy. Using these conversations as an instruction guide for self-genesis, a parallel universe is constructed. And as a personal response to a stranger, the film continually shifts between a strange loop of cinematic fiction and absurdist para-documentary.
a Method for Blue Logic (2014) at Your Time Is Not My Time (2015)
photo courtesy Cassander Eeftinck Schattenkerk, images courtesy de Appel arts centre, Amsterdam
Ghost Flowers – Herrmann Germann, Zürich
photo courtesy Showroom MAMA, Lotte Stekelenburg, Rotterdam
Performance for the launch of Warhol Museum's Figment (2013)
Passengers (2010 — 2014)
edition of 10, each unique
Passengers is a series of video works in which the artist has edited themself and others into scenes from Hollywood films, each of which is set in a car interior. The substitution is seamless, largely thanks to the performances and also the skilled technical execution. Both comic and sexually charged, the silence of the exchanges accentuates and heightens each facial expression and nuance, suggesting meaning and understanding between the characters.
Proxy, Or - Seventeen, London