'The Land That...' by Frances Hegarty & Andrew Stones - installation view, The Mac, Belfast 2019

The Land That...

 

2019

For x5 interconnected spaces.
Video (x1 large projection, x4 synced screen pairs), sound, kinetic devices, custom lighting, text.

Commissioned for exhibition by The MAC, Belfast.

Installations featuring performative actions for video, with sound, objects and text. The result of a five-year engagement with a formerly-cultivated plot of land in Co. Donegal, Ireland.

Ex Machina

 

2016, 2006

Video projection, surround sound, custom lighting.

Solo exhibitions (as duo): Visual Centre for Contemporary Art, Carlow, Ireland (2016), Visualise Carlow (2006). Commissioned.

From high in the sky, a camera penetrates the outer wall of a sugar factory, dropping down through the various levels of the deserted, asset-stripped building, to an otherworldly zone... only to be rapidly expelled.

'Ex Machina' version 2, by Frances Hegarty & Andrew Stones - installation view, Visual Centre for Contemporary Art, Carlow, Ireland 2016
'Tactically Yours' by Frances Hegarty and Andrew Stones - installation view, Butler Gallery, Kilkenny, Ireland 2007

Tactically Yours

 

2007

For x4 interconnected spaces. Mixed media installations based on live action for video camera.

Solo exhibition (as duo), Butler Gallery, Kilkenny, Ireland. Commissioned.

Banks of CCTV monitors show the artists practising the tactics of street protest in an isolated forest. Elsewhere, the left hand of one artist and the right hand of the other engage together in a fraught process of collaborative drawing.

Extra

 

2003

Temporary public artwork based on action for 100 participants, with live and recorded video projection in custom structure.

Commissioned for Glydegate Square, Bradford (UK)

A CCTV camera is installed in a large window overlooking a city square. In the evening, an image is projected in the window that appears to be a live feed from the camera, except that a crowd of city people also comes and goes, half-present in the image but absent from the square.

'Extra' by Frances Hegarty and Andrew Stones - installation view, Glydegate Square, Bradford, UK 2003
'Overnight Sensation' by Frances Hegarty & Andrew Stones - installation view, St. George's Market Hall, Belfast 2001

Overnight Sensation

 

2001

Site-specific video projection.

Commissioned for St. George's Market, Belfast by Belfast Festival at Queen's and Ormeau Baths Gallery.

In a market hall at night, a large screen shows a time-compressed sequence of the market that takes place there, repeatedly consumed and recreated by waves of uncanny light and fog.

Orienteer (A to Z, Dawn to Dusk)

 2000

Single-screen video with stereo sound.

Commissioned for as it is, Ikon Gallery Birmingham.

A female runner makes an impossible traverse of the city of Birmingham, from east to west, via twenty six alphabetically-ordered streets, in the course of one day.

'Orienteer (A to Z, Dawn to Dusk)' by Frances Hegarty and Andrew Stones - video still, 2000
'Seemingly So Evidently Not Apparently Then' by Frances Hegarty & Andrew Stones - installation view, Midland Railway Station, Sheffield 1998

Seemingly So Evidently Not Apparently Then

 

1998

Site-specific installation with projected live and recorded video, incorporating an 8-hour durational performance with custom couture.

Commissioned for Shunted, at Sheffield Midland Station, by Site Gallery, Sheffield.

A CCTV camera relays a live view of the railway station platform adjacent to the installation space, but with the addition of a continuously-pacing, ghostly female in a bizarrely huge, pink dress.

'For Dublin' by Frances Hegarty & Andrew Stones - installation view, River Liffey, 1997

For Dublin

 

1997

Temporary public artwork. x9 neon texts for x8 exterior city-centre sites.

The Nissan Art Project (commission) in association with the Irish Museum of Modern Art.

Nine manifestations in neon of James Joyce's Molly Bloom, in eight city-centre sites. A play on the gendering of pleasure, public space, and the active and passive subject, via Joyce's literary recreation of Dublin (in Ulysses) and the imaginary meta-female at its night-time heart.