In September 2017 I undertook a month-long residency at the European Investment Bank, Luxembourg, alongside three other emerging artists from the European Union, and under the mentorship of Callum Innes.

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My pieces for the EIB Artist Development Residency exhibition explore the material and immaterial spaces of the city. This suite of works combines video, photography and abstracted soundscapes developed as a result of moving through and immersing myself in the city. My practice responds to site and space, exploring the texture of a specific landscape as a catalyst for poetic, thoughtful encounters.

Influenced by the writings of architect Eyal Weizman, The Folly (2017) positions the cityscape as a recording device: a sensory object on which time, history and memory are imprinted. Cracks and fissures in the physical and political landscape open up to provide refuge for business over bodies. Glossy veneers of glass and steel both conceal and reveal the inhabitants of the city. Luxembourg is positioned as a place where thresholds converge, and the borders between realities, cultures and language merge.  

Presented in conversation with this piece is an untitled video work that slows down the act of looking, prolonging the process of coming-into-focus that is in sharp contrast to the fast-paced, information overload of The Folly.

Installed in each lift is a sound piece that acts as an aural cityscape, created using field recordings made throughout Luxembourg City. Installed in the liminal site of the elevator, each piece is an intervention in the daily routine of the EIB inhabitants and a disorientating invitation to question how we move through space.