Victoria Wareham Portfolio 2013

7/30/2019 Victoria Wareham Portfolio 2013

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victoria warehamContents

Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

My Way/La Ci Darem La Mano. . . . . . . . . . . . . . .

Trumpet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Looking Back. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Concerto Incognito. . . . . . . . . . . . . . . . . . . . . . . . . .

at Joke Isn’t Funny Anymore. . . . . . . . . . . . . . .

e Amateurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Chatshow / e Juggler. . . . . . . . . . . . . . . . . . . . . .

Make up for your alter ego. . . . . . . . . . . . . . . . . . .

e Visitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Disjunction Parts 1 & 2 . . . . . . . . . . . . . . . . . . . . . .

Biography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

pg 3

pg 6-9

pg 10-11

pg 12-13

pg 14-17

pg 20-21

pg 22-25

pg 26-29

pg 32-35

pg 36-39

pg 40-43

pg 46



Foreword

2 3Columbia 2012 digital photographic print

e perception of ourselves and how we are viewed by our peers is an essential part of how we understand andinterpret the world around us.

In a time where facebook proles, twier feeds, blogs and instant messaging are all ways that we are able topresent our ‘edited’ selves to the world, are we now all creating lives that are beautifully craed feature lms

when in fact, what we are more excited by are the deleted scenes and out takes? Because ultimately, our abilityto relate to one another is not in the facade that we carefully sculpt and tailor for ourselves, but is through the

exposure of our mistakes, errors and humanity.

One of the simplest mechanisms for exploring this notion is through the vehicle of lm. e transcendentalquality of this medium and its ability to both create and shaer icons is central to my current practice. Working

with the moving image in physical space, my practice addresses theoretical concerns relating to culturalmimicry, performance and social mutation as dened by popular culture.

- Victoria Wareham, 2013



musicians

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6 7La Ci Darem La Mano 2008 video projection on glass/perspex polymer screen exhibition still e Truman Brewery, London



MusiciansMy Way/La Ci Darem La Mano

8 9My Way 2007 video projection on satin mesh screen exhibition still Aspex Gallery, Portsmouth

My Way

An aempt at dierentiating between taught and true emotion, My Way depicts ayoung girl aempting to sing a song of reection, endeavoring to portray emotions she

cannot possibly have experienced.

La Ci Darem La Mano

e seminal love duet from Mozart’s ‘Don Giovanni’, La Ci Darem La Mano sees two

opera singers subverting their traditional roles in an aempt to demonstrate theirperception of one another.



MusiciansTrumpet

10 11Trumpet 2009 video monitor installation

Trumpet is an exercise in humour and surprise, object and function. e work usesperformance as a vehicle to question and subvert the perceived function of a device

traditionally used to record performance.



MusiciansLooking Back

12 13Looking Back 2011 four screen video projection commission for e Millais Gallery, Southampton

Looking Back is an exercise in deconstructing a musical performance. e vocals andvisuals are disseminated across a space to allow the viewer to experience a performance

in three dimensions.

e viewer is forced to work to reconstruct each of the performative elements to beable to view the performance as a whole.



MusiciansConcerto Incognito

14 15

A bizarre mixture of vocal intonations, tones and syncopation, Concerto Incognitorequires its audience to challenge historical fact against local mythology. Broadcast

from a public bandstand, audience members are encouraged to collect a musical scoreand to sing their interpretation of this musical score.



16 17Concerto Incognito 2010 sound installation accompanying musical score



Actors

18 19



Actorsat Joke Isn’t Funny Anymore

20 21at Joke Isn’t Funny Anymore 2009 video projection

An exploration of semantic satiation, the full duration of Tat Joke Isn’t FunnyAnymore sees a comedian rehearsing a stand-up routine 25 times to the point where

the repetition causes the jokes to lose their original meaning.



Actorse Amateurs

22 23e Amateurs 2009 single screen projection lm still

Taking a London amateur dramatic society as its focus, Te Amateurs turns the re-hearsal space into the subject of the lm, and provides an intense contrast between the

‘resting’ and ‘performative’ states of the actors.



24 25e Amateurs 2009 video monitor installation



ActorsChatshow / e Juggler

26 27Chatshow 2007 single screen projection

Chatshow

Set in the living room of two old age pensioners, Chatshow, takes the transcribeddialogue of a day time television talk show and asks the viewing audience to read out

the conversations, highlighting the obscure nature of passive social voyeurism.

Te Juggler

Te Juggler is a piece that challenges our perception of performance. We see an elderlywoman performing to a street crowd and are presented with mixed feelings of humour

and awe; revitalising the excitement and nature of true showmanship.



28 29e Juggler 2009 video monitor installation



Residencies

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32 Hollywood Miosis 2013 video still 32Hollywood Miosis 2013 video projection installation



ResidencyMake up for your alter ego

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Completed during a two month residency at Gertrude Contemporary, Melbourne,Make up for you alter ego is a selection of site-specic works produced in Australia.

Hollywood Miosis is a site-specic series of new video works that recreate iconicscenes from ‘e Shining’ and ‘Vertigo’ in the Studios of Gertrude Contemporary.

e work is presented as a multi-screen, layered projection that plays with the physicaland virtual properties of the cinematic image allowing the viewer to inhabit and navi-gate through the work on multiple levels. e circular incisions made in the projectionscreen remove the work from its inherent cinematic qualities and replaces them with

references to the mechanical operation of the camera and perception and interpretationof the image by the eye.

Te Good, Te Bad and Te Ugly is a sculptural work that makes clear reference tothe nal eight minutes of the iconic lm of the same title. A sculptural representation

of this iconic cinematic scene, the work transforms this ctitious two-dimensional real-ity into a theatrical prop which, when activated by the presence of the viewer, is a clear

three-dimensional reconstruction of this scene.

35e Good, e Bad and e Ugly (2013) performance sculpture



36 37e Visitors 2011 video monitor installation



Residencye Visitors

38 39e Visitors 2011 video monitor installation

As part of a residency at the University of the Arts London, Te Visitors is a sitespecic project that forces the resident artist to embody an unwanted visitor in the

form of a domestic house y. In this guise, the ‘visitor’ must sit in student studio spacesand ‘borrow’ objects from them to form a nest.



40 41Disjunction Part 1 2007 single screen projection

Disjunction Part 2 2007 video monitor installation



ResidencyDisjunction Parts 1 & 2

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e product of a residency at the former Dean Hill Army Munitions Depot, Disjunction Parts 1 & 2 simultaneously presents the viewer with a factual story of aformer soldier with its theatrical interpretation. e viewer is able to inhabit the space

between the ctitious performance and the documentary and to experience thetransformation of the story as it occurs.

Disjunction Part 1 2007 installation view



About

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AboutBiography

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Based in London, Victoria has exhibited lm installations across the UK andinternationally. Aer completing her Undergraduate degree at the Arts University

College Bournemouth, she then went on to complete her Masters degree at theWimbledon College of Art. Working with the moving image in physical space,Victoria’s practice addresses theoretical concerns relating to cultural mimicry,

performance and social mutation as dened by popular culture. She has taught at anumber of higher education institutions including the University of the Arts London.

All images copyright Victoria Wareham 2013 Cover image: Animate Icon 2012 digital photographic print



Copyright Victoria Wareham 2013

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Victoria Wareham Portfolio 2013