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| | Victorian socialist, William Guest, awakes to find himself in a new Spring morning. He decides to clear his head with a swim along the moored up boats upon the Thames – and as he does he realises that the landscape around him has changed. The industrial smoke filled factories are no longer there, in their place are fanciful little buildings, shops and booths beset with painted gilded vanes and spirelets, streams and wonderfully crafted stone arched bridges. Speaking with the waterman, he discusses the landscape around him – and slowly begins to realise that he is no longer in a time of his own, but that of the future – 2102. |
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| Tracker ∆ (2013)
| | Victorian socialist, William Guest, awakes to find himself in a new time. The smoke-filled chimneys of London’s industrial wastelands have vanished and the land around him is now filled with nature and serenity. He slowly realises that he is in a land of Utopic harmony – where the problems of the past, of labour and currency, are now replaced with beauty and friendship. |
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| Tracker ∆ considers the cultural and economic value of data through an installation of sculpture and prints. It proposes information as commodity and currency, seeking to draw parallels between data to that of gold. Gold’s desirability remains un-changed cross-culturally and through time, it is precious and brings wealth and power. Could data be considered as the new gold in today’s society?
| | William Guest awakes to find himself no longer in an industrial Victorian wasteland, but that of a place of beauty and serenity - the year is 2102. |
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| Metal sculptures in the shape of data lines protrude from the walls, painted in the colours of a bleak shade of neutral white. The walls are filled with vinyl wallpaper, a pattern of repeated golden keyboards and CCTV cameras. Boards of printed fabric printed show natural digital landscapes of pine, sea, sand. Four prints inspired by universally appreciated phenomena such as diamonds, sea, gold, female seductive sculpture hang at the back of the gallery. Participants can enter a competition to win a print by depositing their business cards. The piece seeks to articulate data as a pleasantly natural and unnatural form of exchange which we operate upon on a daily basis.
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| The piece interrogates the value of exchange, when we use online platforms, what elements of data are we exchanging in order to use their service? How do companies stand to profit from understanding us as their customers, how do we voluntarily feed to the government and corporations? How does value accrue and how do we contribute to the market? The work seeks to articulate collective identity, and the possibility of its sale and use on the market.
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| Sophie och Tobias (2010)
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| Sophie och Tobias is a study of the individual through the prolific stereotype of the Swede. The piece invites one female and male of a similar age, blonde and blue eyed. They are filmed separately performing a list of simple actions including reading texts of banned literature, and to form circles using only their bodies.
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| The circle is a simple shape that does not tessellate with itself, as it stands on its own it is used in this project to represent the individual. Spotlights switch on and off to mark the age of the participant, the circle is performed through the body and through literature. The simple instructions aim to encourage a subtle analysis upon the similarity and differences of the individual. The footage exists as 25 3-5 minute un-edited clips, filmed through a digital camera.
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| The work considers the areas in which repetitive action performed by
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| ALPHABET (2009)
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| This installation consisted of sculptures, letters and writing collected from the personal profiles of friends on Facebook. The participants were selected unknowingly with their names from A-Z, with data such as their jobs, age, sex, location obtained for presentation.
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| The data was presented as a series of circles, displaying the profile pictures of each individual tinted in a colour that I felt suited their personality best. A working clock was fitted onto the front, with transferred text stating the individual’s location and specified job on the clock hands.
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Victorian socialist, William Guest, awakes to find himself in a new Spring morning. He decides to clear his head with a swim along the moored up boats upon the Thames – and as he does he realises that the landscape around him has changed. The industrial smoke filled factories are no longer there, in their place are fanciful little buildings, shops and booths beset with painted gilded vanes and spirelets, streams and wonderfully crafted stone arched bridges. Speaking with the waterman, he discusses the landscape around him – and slowly begins to realise that he is no longer in a time of his own, but that of the future – 2102.
Victorian socialist, William Guest, awakes to find himself in a new time. The smoke-filled chimneys of London’s industrial wastelands have vanished and the land around him is now filled with nature and serenity. He slowly realises that he is in a land of Utopic harmony – where the problems of the past, of labour and currency, are now replaced with beauty and friendship.
William Guest awakes to find himself no longer in an industrial Victorian wasteland, but that of a place of beauty and serenity - the year is 2102.
