A Miracle, Performed, 2016
Performance on Chat Roulette, live streamed at
Katzman Contemporary, Toronto. The gallery audience
had a limited of window of time to find this
apparition - a hybrid saint based on the patrons of
lost people, lost objects and gamblers.
Concurrently, website users encountered an
Duration: until Chat Roulette shut the performance
down for inappropriate content.
The High Places, 2016
This is the first in a series of new video works by
Holly Slingsby, where the artist performs in sacred
or psuedo-sacred places in an attempt to activate
their latent spiritual energies. This work was made
in the ruins of three churches in Romney Marshes,
and focuses on a priestess character who tries -
with various objects and actions - to call these
places of worship back to life. Her accoutrements
recall the prophetess Miriam, the figure of Justice
and the holy virgin Vesta, amongst others. As well
as trying to reinvigorate the locations themselves,
the work imagines it can channel the ancestral
power of these divine women.
This work was commissioned by Kunst Vardo and supported
by Arts Council England.
Homage to the Pythia, 2016
Performance at Harcourt Arboretum, Oxfordshire. The
performer's props and actions a based on historical
accounts of the pythia - the woman who acted as the
conduit for the oracle at Delphi. Here she tries to
see the future in spheres of glass, metal, clay and
foam, and prophesies only through a set of wind-up
teeth. Duration two hours. Photographs by Florian
Cloud of Witnesses, 2016.
Mixed media, dimensions variable. Commission for
Fermynwoods Contemporary Art.
Knotted Mass II, 2016
Performance with 25mm slides depicting mythical,
historical and pop-cultural figures whose hair is
vital to their narrative. These images are
circulated among the audience along with whispered
rumours about their backstories.
Duration 20 minutes. Commissioned by Finishing Touch, London.
Photographs courtesy of Art Licks.