Inside the Cameras
2026, layered video.
'Inside the Cameras' explores filming the same activity from multiple camera angles simultaneously, and then displaying the synced footage layered on top of each other. We ran around in between three set camera viewpoints. The cameras and tripods are unavoidably captured in the footage and are overlaid over each other to seemingly invert the activity: it appears as though we are running around the cameras but the cameras are actually around us as we run. The result is a confusing, moving composition that is chaotic but also has a sense of order from the figures mirroring one another.
Outside the Cameras
2026, layered video.
'Outside the Cameras' explores filming the same activity from multiple camera angles simultaneously, and then displaying the synced footage layered on top of each other. The cameras were all in the centre of the room and we ran around the outside of them. The work shows a 3 dimensional space separated out into planes, flattening the activity into a single line.
Yarn
2026, video.
'Yarn' explores filming the same activity from multiple camera angles simultaneously, and then displaying the synced footage layered on top of each other. We were experimenting with warping the viewers sense of perspective by presenting three angles on a single plane. We are excited by the way in which this distortion particularly alters how the string behaves as it moves across the screen and also the distortion of our arms in the moments of catching and throwing.
Improv Group
2026, layered video.
'Improv Group' uses the footage from previous work 'Stagehands'. The footage is overlayed over itself multiple times starting from different points. More bodies and configurations in the space create more fortunate accidents and coincidences.
Stagehands
2026, video.
In 'Stagehands' we follow a simple rule, hold a static pose when the light comes on, and when the light is off rearrange ourselves and the objects in the room. The work balances a planned structure and unplanned instinctive movements: within the rules we are free to play.
Chrysalis
2026, video.
In 'Chrysalis' we use a very simple but clean camera edit, to portray an unlikely metamorphosis. (Kane finally fulfilled a lifelong dream of becoming a butterfly). Like many of our works, the process of how we have achieved the effect is visible: the audience can see how the work is made but suspends disbelief all the same.
Timber
2026, layered video.
'Timber' is one of a series of works where we create moving sculptures that only fully exist in film. Our performance unexpectedly culimates in a representation of a living tree in the space, constructed of only our bodies and some found branches. We use very minimal materials to produce something elaborate and ephemeral.
Windmill
2026, layered video.
'Windmill' is one of a series of works where we create moving sculptures that only fully exist in film. There is humour in the 'misuse' of the tripod, which becomes a subject of the film rather than part of the filiming apparatus.
Helicopter
2026, layered video.
'Helicopter' is one of a series of works where we create moving sculptures that only fully exist in film.
Wormhole
2026, layered video.
'Wormhole' is one of a series of works where we create moving sculptures that only fully exist in film. This work and 'Belly Button Fluff' below play with our sense of 2 dimensional vs. 3 dimensional space.
Belly Button Fluff
2026, layered video.
'Belly Button Fluff' is one of a series of works where we create moving sculptures that only fully exist in film.
Half Pipe
2026, layered video.
'Half Pipe' is one of a series of works where we create moving sculptures that only fully exist in film. We are still waiting to hear back from Tony Hawk.
Sea Urchin
2026, layered video.
'Sea Urchin' is one of a series of works where we create moving sculptures that only fully exist in film. Like 'Windmill' there is humour in the 'misuse' of the tripod, which becomes a subject of the film rather than part of the filiming apparatus.
Fencing
2026, video.
Like many of our recent works, 'Fencing' explores playful activity in the space as artwork in its own right. We have deliberately filmed in this space for the majority of our recent works to a lend a consistency to our videos and a helpful limitation that focuses our work. Like 'Windmill' and 'Sea Urchin' there is humour in the 'misuse' of the tripod, which becomes a subject of the film rather than part of the filiming apparatus.
Washing Machine
2026, layered video.
'Washing Machine' digitally manipulates the space so that the boundaries between ceiling, floor, and walls fall away. The work also showcases Kane's acrobatic prowess.
Duck Duck Goose
2026, layered video.
'Duck Duck Goose' is one of a series of works where multiple versions of us perform the same action in sequence, revealing patterns in our movement that are only apparent due to this layering and suggesting a narrative. This work is named after a children's game, emphasising the importance of play in our work,
Mind the Gap
2026, layered video.
'Mind the Gap' is one of a series of works where multiple versions of us perform the same action in sequence, revealing patterns in our movement that are only apparent due to this layering and suggesting a narrative. The multiple versions of us, both add to the chaos of the video and reveal a sense of order in our movements.
The layering technique also creates unanticipated outcomes, often sparking new avenues of exploration in later videos.
Excuse Me
2026, layered video.
'Excuse Me' is one of a series of works where multiple versions of us perform the same action in sequence, revealing patterns in our movement that are only apparent due to this layering and suggesting a narrative. The multiple versions of us, both add to the chaos of the video and reveal a sense of order.
Our clothing plays and important role, darker colours are prioritised over lighter ones, meaning that the white tshirts disappear behind black ones.
Wanderer above the Sea of Fog
2026, layered video.
The collaborative practice must continue even when one of us slopes off to go skiing, and the other expresses a healhty frustration with being abandoned.
High 40
2026, video.
We made this work to congratulate ourselves for a job well done.
Antics
2026, layered video.
This work relies on the mind’s tendency to fill in the ‘gaps’ and our inclination to suspend disbelief, rather than using the best tools and technology available to convincingly make it look as though we are climbing a very big ladder.
The Creation of Adam
2026, layered video.
'The Creation of Adam' humorously creates a new space from videos of a real space. Sound and brevity are play an important role in bringing this piece together.
Non Stop Clone Chop
2025, video.
'Non Stop Clone Chop' reveals the behind the scenes process of many of our other video artworks. We created clones of ourselves which we now can't ethically dispose of, so we've had to include them in our work.
Tea Break
2026, layered video.
'Teabreak' established our focus on fragmenting videos, either digitally or through projection and display techniques. Simulating chopping objects with the saw led us to chopping up the videos themselves: that idea began with this work. The humour and the rudimentary nature of the editing style continue to inform our practice, whilst also making this a finished work in its own right.