Over the past 20 years, my work has sought to explore themes relating to personal and collective
identity, the excavation and examination of historical narrative, and the formulation of perceptions
of the racial 'other' through contemporary technologies and popular culture.
As part of a wave of artists of African-Caribbean and South Asian origin who emerged from British
Art Schools during the early 1980's, I sought to articulate thematic content through an increasingly
diverse range of media which was to lead directly into an engagement with time-based and new
This engagement, over recent years has led to an exploration of the use of user interactivity, both
within an installation based gallery context and through other media such as CD-Rom, DVD and the
internet, to enable the user to further excavate the content of the work.
'Bel-shaz-zar' will take the form of a triptych of large scale projections, each one sourced from a networked
Apple Macintosh computer.
The installation will take as its conceptual start point the Biblical legend of the 'writing on the wall' which
appeared to the Babylonian king Belshazzar heralding the imminent moment of his destruction. Using a
series of protocols developed within the programming language 'Lingo', the computers will use their
collective 'awareness' of 'real time' and 'elapsed time' to structure a complex and ever evolving series of
visual and textural video montages. These montages will through time construct a narrative which posits the
viewer in an ever shifting space between the memory of historical trauma and the imaging of futurological
catastrophe. Drawing on internal databases of manipulated imagery, sound and montaged video footage
taken from historical archive, contemporary urban space, and the 'post apocalyptic' urban spaces of popular
science fiction, the computers will 'cut and paste' sequences and juxtapose them with ongoing textural
narrative passages generated by the computers in real time.
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