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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 unexpected vision.
Duration: until Chat Roulette shut the performance down for inappropriate content.
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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.
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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 Herzberg.
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Cloud of Witnesses, 2016.
Mixed media, dimensions variable. Commission for Fermynwoods Contemporary Art.
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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.