Research

As much about forgetting considers how the passage of time gives us both history and memory, and how tensions often exist between these two formulations

Vindskaber was an inquiry into how the use of Virtual and Augmented Reality might impact on our perception and understanding of the landscape in the future.

Mirror II: Distance is a dual-screen video installation. It was produced as the result of two field trips to Pakistan in 2015 focussing on the heavily fortified diplomatic enclave of Islamabad.

a ROLE to PLAY brings together the lived experiences and dreams of Bolsover residents, one of the most deprived towns in the middle of England.

Mirror IV: Legacy is a two-channel video installation. It was developed as an experimental platform to explore the relationship between content and framing. Specifically, the project considered the authority of a museum and the credibility of an archive.

Untitled (superorganism) is a video installation commissioned in 2014 for ‘Anthropocene Monument’, an exhibition and symposium-performance curated by Bruno Latour, Bronislaw Szerszynski and Olivier Michelon at L’Abbatoirs Museum of Modern and Contemporary Art in Toulouse.

The research enquiry sought to explore and illuminate issues of migration in 20th century Europe in relation to questions of culture and identity.

Mirror I: Hierarchy was devised to explore the anxieties and thought-processes of two protagonists within the world of surgery – the patient and the surgeon.

This research explores the relationship of psychological and cinematic space. The principal output, Unhomely Street, a 20 minute essay film, uses a character in a state of fugue as a strategy to explore attitudes towards capitalism and contemporary society.

‘Artist Substance’ is a quasi-philosophical term Reeve devised to denote a speculative model of art’s ontological operation as a reciprocal relationship between ‘Art’ brought into physical existence and an existential capacity within a human creature that simultaneously becomes activated (‘ontologically carved’) through the non-verbal creation process