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All enquiries [email protected]
Terry Flaxton has been an impassioned, indefatigable presence in British Independent Video for five decades. During this time he has assembled an impressive body of work encompassing highly personal poetic video art & installations, powerful, polemical documentary (produced as a member of ground-breaking outfits Vida and Triplevision) |
All of my moving image art is available in print form - as a for instance, derived from my moving Image artwork God's Love is Eternal which can be seen here on Sedition.art the print is a 55 x 75 inches - Click here for detail
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Exhibited at the Royal West of England Academy: Testing to Destruction is a year 2000 snow-white early Bondi imac displaying my work Barcode Jesus in a Barcode World . The point of the work is to run the video until entropy has its way. I have made a variety of these and some are still going - past my expectations - the original exhibition edition ceased quite quickly thus enabling me to create the video below of making it into a new piece called Resurrected (for Jean Cocteau). POA
Use the controls to view full screen
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Testing to Destruction
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To create In Re Ansel Adams, I flew to California to Yosemite National Park in America and hired a 4k camera with movie level $80k Angénieux lens at a moment when the film industry did not have access to use these cameras for movies. For a while the facilities house showed this work anonymously and it created a stir in the cinematographers community. I heard this from a friend who is a West Coast Cinematographer said: "an amazing piece of footage is on view for a short while at that facilities house" - I said, that's one of mine.
If you want to buy this installation from me direct where you can own one of remainder of the 5 editions, either just data or data with a high level screen, contact me (P.O.A.) The Harris Museum in Preston and the Royal Academy of Art in Bristol each own an edition - both these institutions have exhibited the work. for several months.
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In Re Ansel Adams - 2008 - 90 seconds, 4k (3840 x 2048 pixels) POA Use the comntrols to display this work full screen |
The good news for collectors is that a lot of my work is on sedition art at this link here at low prices - as for instance one of my works on a drive might cost £5000 upwards - yet is available for @100 on Sedition Art, which works by the collector buying continuous access to view an edition of the artwork via their platform - so it's a form of streaming - effectively the work stays on the cloud so prices are far less than you would pay to own the data. Both In Re Ansel Adams and Barcode Jesus in a Bar Code World are on Sedition.
"It was great to see your piece as it is supposed to be seen. Interactivity in the best sense: perhaps the only meaningful sense at this point in history." From a fellow artist on seeing In Other People's Skins for the first time.
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In Other People's Skins is an installation table which displays a set of dinner parties from around the globe with different skin colours at life size. The audience guests can sit at the work and manipulate the plates each of which catches the projections of the meals - there are always lit candles on the table - Guests can place their hands In Other People's Skins.
This work travelled around 7 cathedrals, Bath Abbey and Southwell Minster in the UK, then Vasteras Cathedral, a variety of visits to Italy (milan twice) as well as Xi'an Academy of FIne Art finsihing at the Cathderal of St John the Divine in New York |
"Terry Flaxton's shrewd and paradoxical installation contributes to the deconstruction of traditional video. The restless and versatile British filmmaker refuses usual interactivity, and displays, instead of a normal screen, a laid dinner table; then invites the viewer, through a very precise projection, to try to match the virtual guests' gestures. An unforeseeable and bewildering end follows." In Response to The Dinner Party, (a predecessor to In Other People's Skins), Techne Catalogue October 2005 - May 2006. In Other People's Skins next went on to three different 6 month exhibitions at the Cathedral of St John the Divine in New York, between 2012 and 2016, where their figures recorded audience traffic at around 1.2 million people per six month exhibition. P.O.A.
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Entangled - or The Human Gaze in an Age of Quantum Entanglement is a long form artwork which visualises and describes the transitions from:
the Analogue to the Digital (Part 1 of 4 parts) through to the transition from the Digital to the Quantum Realm (Part 2 of 4 parts) The Tachyon State Part Three of 3 Parts Then Messages from Nowhere - 3 parts POA for all 14 parts - currently there are 3 collections on Sedition Art |
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"Ecclesia 11: For Bridget Riley:" 2021 - Video, single screen video work.
Possibly my most favourite work (though each new work is a favourite for a while) and as yet not released online 2024 POA |
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2020 Metempsychosis six 24 x 16 inch Photographic Prints 6 in total
Exhibited at the Royal West of England Academy |
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2019 Re-Imagining New York (a Diptych of Video Screens) POA
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2018 Re-Imagining Venice (a Triptych of Video Screens) POA
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2016 - Video work, single screen
