Return of the Black Tower
Video installation commissioned for solo show at PEER, London,
You can currently watch the whole of this video on my vimeo
This work is distributed by VDB
Excerpt from Time Out review
“Barmy, baffling and weirdly funny, Thomas&#; rejig takes Smith’s honed inquiry into film’s structural conditions and reverses its terms: instead of a lone protagonist, a group; instead of his lonely death because of the tower, a celebratory union with the ‘thing’. Thomas’s non-sequitur digression into collective conviction is an elliptical, satirical examination of contemporary belief, as much as it is about the problem of art as an incommensurate, incommunicable experience. If Smith’s film sought to reveal the truth of its technology, Thomas suggests that video can only witness truth’s evanescence in an increasingly uncertain age. “
JJ Charlesworth review Time Out
Performers:
John: John Wagland, Jennifer: Jennifer Thorne
In Michael was honorably discharged from military service and started working for start-up CFI, a small but successful magnetic disk pack manufacturer, where he helped to develop the magnetic particle orientation process. After a year at CFI Michael was recruited by Computer Sciences Corp. NASA/AMES to work on the US Space Shuttle Program where he received national recognition for his optical isolator interface for PDP/11 simulator electronics.
Another year passed and Michael was recruited by Varian Associated as a Final Test Engineer developing start-up X-Ray Computerized Tomography Systems using Xenon gas femto amp detectors. After
Kyran Joughin and Jennet Thomas in Conversation: The Unspeakable Freedom Device
Jennet Thomas, The Unspeakable Freedom Device () featuring John Wagland as the Blue Man. Winter Gardens, Blackpool. Photo: Paul Tarragó. Courtesy of the artist. INTERVIEW Jennet Thomas in conversation with Kyran Joughin: 25 January , Nunhead, London Introduction by Kyran Joughin his is the story of a man who had something wrong with his eye, and it afected what he could see; wherever he went he could see it, it was like a blockage but he also had a kind of interest in it. He thought it might be inside of him; he tried not to focus on it but it was always there, even when he blinked […]. It was like a kind of full stop. So he went to the doctor. Jennet homas ()1 In August , in a ield in Oxfordshire, the Supernormal Festival invites all comers. In the grounds of Brazier’s Park, a neo-medieval Strawberry Gothic pile, Supernormal’s ‘ethos of collectivism’ proposes such delights as Drone Qi-jong and a C(o)unterculture Woman’s Land.2 ‘Join Us!’ the workshops and the bars cry. ‘Come in!’ And in the bosom of this ‘harbour of cultural resistance’, in he Vortex, the festival’s largest tent, Exploding Cinema
Jennet Thomas
Work by Jennet Thomas will be included in this year's Whitstable Biennale, 11 June June.
The Great Curdling, a Folk-Sci-Fi film, will be accompanied by live perfomances and installation. Taking the form of a musical, with compositions by Leo Chadburn, the film explores the feeling that collective reality is at a tipping point. It will be screened continuously on the hour and half hour, between and , at The Old Bank.
The Error Mode, by Jennet Thomas & The Curdles, will be performed twice each Saturday of the biennale, at and , at Dead Man's Corner. The live musical Sermon will be performed by cult members from The Great Curdling, dressed in a collision of PPE suits, horned mutant creatures, and tattered shreds of English flags. Each performance will last 15 minutes.
Whitstable Biennale
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