"Origamibiro is a collaboration between myself and musicians, performers and producers Tom Hill and Andy Tytherleigh. Tom and I have a long history of collaboration through av_dv [Jim Boxall/Jon Gillie], Wauvenfold [Noel Murphy/Tom Hill] and Penfold Plum [Tom Hill]. After creating the first Origamibiro album 'Cracked Mirrors and Stopped Clocks', Tom wanted to find unorthodox ways to produce intimate live music based on generated loops without the audience barrier of laptop screens. Tom's music had a high level of emotional intensity that I felt a real affinity with and wanted to replicate through my visuals. I also wanted to further explore our live setup and find ways to show what we are doing and how we are doing it, as we are doing it. Early on in this process we enlisted the multi instrumentalist skills of Andy Tytherleigh. Andy immediately multiplied layers of melody and atmosphere in the set to create a wider and more beautiful sound."
Bill "Viola's The Greeting is pretending to be a picture, hanging on the wall of the National Gallery, as part of 'The Passions' exhibition in 2003. The context of the gallery space and the badging of The Greeting as a picture give the work something different, making it more than just a film. The significance is in the context of where it is shown and the pretence occurring that this is a picture. Indeed, when walking downstairs in the National Gallery towards 'The Passions' exhibition, it is seeing it hanging on the wall that strikes immediately; I am being invited to believe that this animated film is pretending to be a picture. The analogy is of the picture becoming an actor, pretending to be something else. In terms of form, The Greeting is a film. Therefore, what is it that makes it now defined as an exhibition, a part of Viola's 'The Passions' in 2003? It is only the fact that it's part of a gallery that makes it an exhibition, although in reality it is also actors directed by a video artist into this film, slowed down and with no sound, which is pretending to be a painting. Therefore, it is conceptual art, in that what the artist is doing is not just making a painting, or having the idea for a painting, but having the idea of where it should be staged. The inscribed text of the space in which it is viewed makes a difference to what the viewer or spectator sees, and what is going on."
(Alison Oddey, 2007, p.70)
Fig.1 Bill Viola (1995). "The Greeting".
Fig.2 Jacopo Carucci da Pontormo "The Visitation".
3). Alison Oddey (2007). "Re-Framing". In: "Re-Framing the Theatrical", Palgrave Macmillan. 1-21.