The ‘player’ can select 7 cards, they are ordered on the screen according to suit. Sound bites tell the gambler’s story, each card is accompanied by its own portion of the story. There are four gamblers, one for each suit and four stories. These are taken from interviews with gamblers from Gamblers Anonymous.

The games arcade section is a cacophony of sounds and small movies. As the ‘player’ moves the mouse around the screen sounds (arcade games, dice shaken in a cup, a roulette wheel, advertisement snippets etc.) are heard and images appear and fade from view (images of fruit machines, penny falls, one armed bandits). The Lottery playing screen asks the user to choose numbers from a Lottery card, and these selections trigger sound bites from interviews with National Lottery players (telling how they choose their numbers and what they would do with ‘the big win’).

The Fireman uses stock photographs from PhotoDisc’s “Big Business” portfolio to imply a narrative. A City financier seems to be engaged in a clandestine meeting with another man in a suit in an urban location.

Sarcophagus was an interactive installation. A life sized and highly detailed cast of a reclining androgynous form was cast in plaster, from this a fiberglass cast was made (detail of palm lines etc. were maintained). This body became reanimated as its body displayed moving images and made sounds

The Internal Organs of a Cyborg CD-ROM tells the story of two characters whose lives and identities collide in a hospital emergency room. The story is told in the form of a science-fiction-style comic strip using stock photographs from PhotoDisc’s “Health and Medicine” and “Modern Technologies” archives. The user can scroll through the parallel narratives of the two characters: Donald P Nym, the successful managing director of a large bank and Chrissy Hastings, a young woman who takes part in drug tests and implant experiments to fund her own purchase of black market biotech surgery including a microchip on which she has downloaded her personality. Both the characters end up in the emergency room, Chrissy when a repoman shoots her after she fails to make payments on her new microchip implant and Donald after collapsing with a heart attack. Donald is given the full resources of medical science but Chrissy, who has no medical insurance, dies after being denied life-saving surgery. Her heart is donated to the Donald but as her biological body dies her virtual self is activated in the form of the implanted personality chip. Chrissy’s virtual self starts sending Donald biochemical messages and he starts to have strange memories and feelings and then a posthuman love affair begins when he starts to receive email messages from Chrissy’s virtual ego…

Decoy was made while jane Prophet was artist in residence at the National Trust property, Blickling Hall for Year Of The Artist and first Installed in the Orangery, to draw attention to the relationship between the work and the landscape design motifs of the gardens and parkland outside. In a subsequent staging Decoy was displayed on two plasma screens that were double hung with 18th & 19th century watercolours from The Laing Gallery’s permanent collection. This emphasized its references to landscape painting.

A screen based digital work reflecting on the politics of landscape, construction and ownership. Drawing on works by painters such as Gainsborough and Poussin as well as the creations of landscape designers Humphry Repton and “Capability” Brown, Decoy consists of a series of animated digital “paintings”, displayed on plasma-screens, in which subtly evolving fractal landscapes are combined with photographic images of the views of the grounds of various country houses

This quintessentially English, Arcadian vista has entered the popular imagination as an embodiment of Nature and the Natural, yet it is almost entirely artificial in its construction. By combining these vistas with evolving simulated landscapes, Prophet unearths the artificiality of each landscape’s past, either by returning the setting to a closer approximation of “wild” nature, or by allowing the viewer to project ahead into the future, according to different growth and planting patterns.

The painterly texture of these sequences, allied to their presentation on a new generation of flat plasma screens, alludes to an English landscape tradition of the picturesque and the sublime, whilst highlighting the capacity of digital technology to create a vision of a landscape entirely
under human control.

CREDITS Commissioned/Curated by Film and Video Umbrella 
Made with support from: East England Arts; The National Trust; Arts Council England; Year Of The Artist; Norwich School of Art and Design; Tyne and Wear Museums

The works were based on talks with medical staff, recipients of donor organs and the families of deceased donors and explores the intense and complex feelings surrounding organ transplant. This investigation is presented though a series of photographic pieces.

The six prints are an ‘exploded diagram’ of a heart transplant patient’s journey through hospital. Traditionally used in medical illustration, an exploded diagram separates the parts of a subject so that each part can be seen clearly. Each part is separated out from its neighbours to show and name the parts of a subject, such as an animal skeleton, the human body, machines, or equipment. Exploded diagrams are used to show details that are otherwise hidden or hard to see in a normal (integrated) diagram.

The six photographs show rooms and spaces in and around the hospital that are central to a patient’s transplant. Not all will be familiar to patients as some are behind the scenes, or occupied when the patient is unconscious (for example the operating theatres). The images were made using a Spheroview ^TM camera that takes 360 degree images and transfer them straight to a laptop with no negative. The images are printed on a heavy paper and then embossed with line drawings of hands.

Isaac Gnuton was made for the fundraiser, The Gnus of Gnu London. The sculpture was inspired by Isaac Newton’s theory of gravity and celebrates his ‘ah ha’ moment, the moment the apple fell from the tree. This was made for a group show that was itself inspired  by the Cow Parades – artists decorate and alter basic fiberglass forms that are displayed and later auctioned to raise money.

Isaac was altered, he has an additional periwig for his mane and tail and he is adorned with custom-made apple decals. Hoisted into a tree he seems to defy gravity –  counter-weighted by a giant apple.

CREDITS Sponsored by Hilary Cleveland, David Cleveland and Robert Jensen.

40 chairs were hoisted on pulleys 8.5m up to the girders that support the roof of the Boiler House. 40 black builders buckets full of water counter weighed them and held them there. Each bucket had a siphon system attached to it and the water leaked out at different flow rates over the 7 day exhibition. Each bucket started to rotate as it lifted, and once the water reached an optimum level, the chair dropped to the ground and the bucket connected to it rose up to the ceiling.

Each of five visual artists were given a common task to make a new work, using forty white chairs, one day, two technicians and a lighting designer, all in response to the Boiler House of the Wapping Hydraulic Power Station. The season began with my piece 40 white chairs and 40 black buckets.