Slowfall Launch - May 1999

When people go to museums, what they see is museum exhibit and is thought of as such. Thus, no matter what is exhibited, it is tamed and kept within the cage of a museum exhibit. Similarly art can be given more life when status is not defined and the audience does not know if some thing is "art" or "life".

Slowfall Projects is an ongoing collaboration of London based artists Investigating this position together, in parallel with their own work.

John Elliott

I remember a conversation with a friend who told me that a team of scientists had just published a paper in which they proposed that “train spotters” were in fact afflicted with a condition similar to very mild autism. “Trainspoting” - an obsessive, compulsive, highly focused activity carried out for no discernable purpose. A bit like art really.

I don't actually believe that artists or train spotters are in fact suffering from any hitherto unknown neurological deficiencies.

Frankly I don't care either way.

Meaningless things make life worth living. They aren't really as meaningless as we would be lead to believe.

Claire Haddon

Somehow, translated by a camera, new realities come into existence and new dynamics are set up; hinting that relationships are already here, just invisible. The photograph or film clip makes these patterns visible by subtle shifts, making them out almost scientifically in both time and space - you cannot see everything at once. It's all down to perspective.

Nick Kaplony

My concern lies in identifying archetypal aspects of a subject, thereby locating a common denominator of visual experience. This distilling of information is essentially an attempt to initiate reassessment of something “familiar”, to make visible the overlooked and the taken for granted, so finding a magic in the mundane.

Sean Langton

Using devices which form part of organic feedback systems I try to engage the participants in normally invisible process. Each device reacts to and instigates patterns within its environment, the viewer's presence upsets the stability of these patterns and instigates further change. These are interwoven with stories and dream fragments to become experiments tinged with the unraveling of personal unknowns.

Karl Musson

The point of all this is to avoid information in preference for alluding to a feeling. This is most directly exemplified in the visibility, or near lack of, the convection currents in the “4th Enigma”. One cannot point to them, but one can know that they are there if one looks. This is looking when the process of looking is more important than anything that one might thus see, recognise and categorise. It is a feeling that the sense of familiar awareness is enough, and that the “real” information would be too base and render the feeling invalid and invisible.