Brass Art: A house within a house within a house within a house

Performances from Brass Art (Lewis, Mojsiewicz, Pettican), captured at the Freud Museum, London, using Kinect laser scanning and Processing, reveal an intimate response to spaces and technologies. ‘A house within a house within a house within a house’ links historical and cultural representations of the double, the unconscious and the uncanny to this artistic practice. The new moving-image and sonic works form part of a larger project to inhabit the writing rooms of influential authors, entitled ‘Shadow Worlds | Writers’ Rooms’

Folds in Time: Artists' Responses to the Temporal and the Uncanny. An international conference, convened by Brass Art in association with the Freud Museum London, as part of the Festival of the Unconscious 2015.

This conference brings together artists, curators and writers to examine the ways artists harness aspects of the uncanny and the unconscious in their navigation of physical and imagined spaces. Built around artists’ practices which have responded to the repressed, the unthought or the untold, and which employ fractured, dream-like or metamorphic narratives; the conference will mix keynote addresses with artist-in-conversations. Contributions from: Patricia Allmer , Rachel Anderson (Artangel), Brass Art, Rebecca Fortnum, Pavel Pyś , Alison Rowley , Lindsay Seers, Daniel Silver , Saskia Olde Wolbers, Rachel Withers. Keynote Lectures: Dr Alison Rowley 'Uncanny Returns and the Power of Laughter: Sarah Lucas at the Freud Museum' Dr Patricia Allmer 'Shadowdance - The Mobile Uncanny

Shadow Worlds | Writer’s Rooms: Freud’s House

This submission comprises an audio-visual installation created by Brass Art with composer Monty Adkins and programmer Spencer Roberts. The installation comprises a looping 4-minute film and uses footage captured via three Kinect scanners of staged ‘sojourns’ by Brass Art at 20 Maresfield Gardens, the house Sigmund Freud occupied during the last year of his life in London

Royal Society of The Arts panel debate The Responsible Artist

A special event organised by Manchester University as part of their London based programme of events at the RSA, London. They invited alumni and guest speakers to join a panel debate on the question of the responsible artist: should an artist, the work they create and their actions hold a moral responsibility for their audiences and wider society? The panel included alumna and actress Jessica Knappet (star of Channel 4 comedy Drifters), Professor James Thompson from The University of Manchester (founder of the www.inplaceofwar.net project), alumnus and composer Olly Fox and contemporary artist Anneke Pettican (from the international artist collective Brass Art www.brassart.org.uk). They were joined by 100+ guests. The event reached thousands outside of the venue across the Twittersphere through lively social media chatter

The trespass of her gesture

Disrupt a choreographed dance between a virtual graffiti artist and her evolving text as words collide and meanings fragment

A Hidden Spectacle

The digital graffiti artist has created work in a number of locations including a national palace, a digital warehouse and a city alley. As part of her on going activity she will create new work somewhere on the Moors in the Transpennine region. Unlike the other pieces she has made (large-scale, interactive, high-end installation) this new work will be on a portable scale, allowing the graffiti artist the potential to roam more freely. It is intended that her co-protagonists will carry her onto the Moor along with laptop, small projector, power source and mini dv camera. As a result, she will use the landscape as her canvas, drawing her graffiti onto something small, like a boulder, and allowing the ‘light’ spray of her touch to mingle with the sounds of the night. It is the intention of the graffiti artist that only her associates witness the piece unfolding. The palimpsest she creates will unfold throughout the night and the graffiti artist will take on the appearance of a fairy laying 'Songlines' or casting a form of spell

From Wunderkammern to Kinect: The Creation of 'Shadow Worlds'

This paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers' Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms