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

Brass Art - Freud's figure - ground in motion: macabre, rare, banal, eerie and sentimental

Brass Art’s intervention into Freud’s house attempted to grant its solid objects, furniture and rooms a light, apparitional quality. Their performances at Maresfield Gardens were recorded with three Kinect sensors, the undifferentiated laser’s touch rendering all objects – alive, dead, static, breathing – with the same white, shining, pixellated brilliance. Objects and places that formed the props and settings for performances assume an intense luminosity, appearing to hover and tilt in a horizonless figure-ground. The interplay of focus, proximity and perception returns to consideration of the atemporal image. As artist Susan Hiller in her own observations of the Freud Museum states, ‘Close consideration of its beautiful, utilitarian, tedious, scholarly, macabre, rare, banal, eerie, and sentimental objects produces a picture in which figure-ground relationships seem to constantly shift’. This article introduces the new, multi-screen sonic work On the Thread of One Desire in development by Brass Art. It examines the way in which their recorded performances draw attention to the unconscious, the atemporal and the uncanny, and how the work foregrounds the loop, the arc and the full 360º revolution, with the intention of amplifying and revealing some of the unfolding narratives embedded in Freud’s London home

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. Yes, These Eyes are the Windows, (18 min HD 2015) was screened as part of the conference

Digital doubles

Replication of the self and engagement with liminal spaces has informed our collaborative practice. 3D body scanning, processing and digital printing proffered new methods of engagement as yet uncharted to capture ourselves faithfully. (http://www.brassart.org.uk) Test body scans suggested the potential to reveal public and private aspects of ‘the self’ – representing both the physiological and psychological aspects of a subject. Digitised Doubles was a practice led enquiry funded by the Arts and Humanities Research Council (UK). The aim of the investigation was to examine how artists might creatively engage with the possibilities afforded by advances in 3D scanning, 3D software applications and 3D rapid prototyping to achieve self-portrait exploring the poise and unique character of an individual subjec

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