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Alex Culshaw

MA work

Egremont Red

A self-reflexive project that follows the artists’ ambition to make a film about that which cannot be seen or captured. 

'Egremont Red’ begins with a preface that introduces two vastly different iron ore mines in Cumbria, England and Kiruna, Sweden as well as, Robert Smithson’s underground cinema. 'The preface' is shown on loop in the degree show. Written as a metalogue the narrative raises the problematic nature of realising an idea, exploring the relationship between ‘potential’ impossible propositions, the unseen, and ability to see.

Once a day a live read screening takes place that continues to explore Florence Mine in more detail. The disused and flooded iron ore mine has been converted into an arts centre. The 'live read' leads the audience through footage of Florence Mine as well as the artists' process of research and ambitions for the film.  

The live read screening ends with 'Egremont Red - fade to black'; a re-staging of footage from Florence Mine that was originally filmed by ex-miner, Garry Connell. In the audio we hear an actor rehearsing a script formed from interviews with Jenni Payne - a co-founder of the printmakers co-op at Florence Arts Centre. The soundscape, made in collaboration with Jenny Berger Myhre, leads into a dream-like meditation on the process of documenting and reconstruction, in an attempt to get closer to a realisation.

Info

  • MA Degree

    School

    School of Humanities

    Programme

    MA Sculpture, 2017

    Specialism

    movingimage

  • Working predominantly with moving image and installation, my work confronts the construction of documentary forms and storytelling. By experiencing and recording cultural and socio-economic conditions, in which I am often a tourist or external observer, I explore temporality and realism. My work addresses the political, draws on the poetic and brings forth a discussion between labor, site and identity.

    Through the use of self-reflexive narratives and a process of documenting and reconstructing, my projects often comment on that which cannot be seen or captured. Ambition and failure are common narratives, as are notions of pretense and the act of embellishment.

  • Degrees

  • BA Art Practice, Goldsmiths University of London, 2012
  • Exhibitions

  • The fin comes a little early this siècle, Jerwood Visual Arts, London 2017; Egremont Red, Florence Arts Centre, Cumbria, 2017; I just wanna go on holiday!, 187 Trafalgar Road, London, 2016-2017; P.P.S. Letter #6, London, 2017; Redo: Untitled Speedboats, The Advisory, London, 2016; Doremifasoladido screening, Florence Arts Centre, Cumbria 2016; Notes.app, Dyson Gallery, London, 2016; Guardian Windows, 187 Trafalgar Road, London 2016; Work In Progress, RCA Battersea, London 2016; An image is no substitute for anything, Numb3r Gallery, London 2014; Artists' Film Salon, JW3, London, 2014; Deptford Stories, Arklow Road Trading Estate, London, 2014; Tomma Rum, Skellefteå City Hall, Sweden, 2014; Progkunstfestivalen, Oslo, Norway, 2014; Open Screenings, Whitechapel Gallery, London 2014; Actual | Virtual, Farringdon Factory, London, 2014; Artist Film Fortnight: Joints in Associate Scenes, The Lombard Method, Birmingham, 2013; Wicked Zinger, Peckham Springs, London 2013; Matters of Translation, Beotzelaer | Nespin, London, 2013