Below entry from Phillip Warnell official website:
Phillip Warnell is an artist and filmmaker based in London and Brussels.
Over almost two decades he has used the body as a site of exploration producing a series of works positioned between film, performance, the visual, and the sonic.
Phillip Warnell is an artist and filmmaker based in London and Brussels.
Over almost two decades he has used the body as a site of exploration producing a series of works positioned between film, performance, the visual, and the sonic.
Through various specialised media - filmed encounters, live performance, video, participatory works, photography, text, ultra-sound, ingested cameras, high-speed film - a considerable part of his work has concerned itself with the exploration of, and curiosity with, the body's interior, or more precisely, its 'insideness'. Though central to his practice, the work is not simply about the body: it exists as a foil, a point of orientation, becoming host to investigative procedures which record and transmit hidden chemical and biological transformations, often to a live audience. The body becomes a place as much as a person, an object and subject position, bringing to the fore questions of viewpoint, subjectivity and representation.
To this end, Warnell has collaborated widely with a range of contributors: both individuals and organisations, shaping works intuitively, traversing disciplines and exploring the circumstances of co-production. In 'Performing the Interior', a paper presented at the Endo-Ecto conference in February (ICA, London, 2006) Ric Allsopp contextualised Warnell's works within the histories and traditions of performance. He writes: 'Performance is a lens through which both subject(s) and object(s) are joined. What were considered visionary and imaginary entries into the individual body, associated with the traditions of shamanic, magical and theatrical performance, are now routinely materialised through remote imaging technologies which can render the hidden interior spaces of the live, active body, visible and transparent. When placed back in the context of performance such techniques can reveal 'imaginal apertures' which in turn disclose other possibilities, other boundaries for our conception of the body (and the body politic) as a transforming and generative site of representation'.
At the root of Warnell's work, Allsopp suggests, is the desire to give an insight into the complex relations that constitute our bodies - the 'tension between the desire to get at and 'see the soul', or at least the inner workings, and the elusiveness of this endeavour'.... 'The work sits across the boundaries of bodies as anatomical, physiological objects of research; as a feeling, sensate, mobilising locus, and as a topos or location of the artwork'.
To this end, Warnell has collaborated widely with a range of contributors: both individuals and organisations, shaping works intuitively, traversing disciplines and exploring the circumstances of co-production. In 'Performing the Interior', a paper presented at the Endo-Ecto conference in February (ICA, London, 2006) Ric Allsopp contextualised Warnell's works within the histories and traditions of performance. He writes: 'Performance is a lens through which both subject(s) and object(s) are joined. What were considered visionary and imaginary entries into the individual body, associated with the traditions of shamanic, magical and theatrical performance, are now routinely materialised through remote imaging technologies which can render the hidden interior spaces of the live, active body, visible and transparent. When placed back in the context of performance such techniques can reveal 'imaginal apertures' which in turn disclose other possibilities, other boundaries for our conception of the body (and the body politic) as a transforming and generative site of representation'.
At the root of Warnell's work, Allsopp suggests, is the desire to give an insight into the complex relations that constitute our bodies - the 'tension between the desire to get at and 'see the soul', or at least the inner workings, and the elusiveness of this endeavour'.... 'The work sits across the boundaries of bodies as anatomical, physiological objects of research; as a feeling, sensate, mobilising locus, and as a topos or location of the artwork'.
Oesophagus
Sounds produced, combining voice and gargle.
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| Oesophagus |
Borborygmus
Sounds of internal organs transferred onto vinyl, produced from various methods including ultrasound.
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| Borborygmus |
Endo Ecto
Live capsule endoscopy medical procedure as a performance.
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| Endo Ecto |
Host
The resulting footage from 'Endo Ecto'.
The sequences of film were then sectioned, and each element framed by the lips and set within the disruptive space of a continually opening and closing mouth. The splitting of the material and its real-time playback means that the entire recorded journey can be seen in just 18 minutes'.
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| Host |
Lisa Le Feuvre comments, 'In 'Host', the reality of the body is not what comes across; rather the body appears as a fiction'. The five-screen film presents 'the interior view of the body stitched on to the mouth, the mouth being the boundary point between the inside and the outside. In the recording there is no narrative, no action. It is impossible to relate to such a view of ourselves: it is a reductive process'. (Lisa Le Feuvre, Suture, London 2005).
Meet Your Inside
Endoscopic Visualizations in Contemporary Culture by Jan Eric Olsen
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