Monumental video projection with stereo sound. (18 minute, looped)
Selby Abbey
Score I developed subsequently in response to the original installation. This was extrapolated from a fragment in my original field recordings at Asgarth Falls made as I followed the path of the River Ure from its source to the sea.
In tracing the path of the River Ure, from its source to the sea, for the video installation Pilgrim (Selby Abbey, 2019) I experimented with geomorphological video iconography. Everything in the work was filmed along the path of water from the peat bogs high in the Yorkshire Dales, past the Abbey and out to the North Sea at Spurn Point. This was not a didactic sequence of movements. It was a contingent and subjective evocation of the seductive power of land, water and energy production. Figures of cooling tower interiors commingled with water sluice management systems, air in the form of condensing mist rendered as caustic smog, dark coal layers invoked by the now clear Yorkshire evening sky in monochrome negative, the sheer force of the falls at Asgarth falling upwards and then cascading as blood morphing into wind turbines, oil seed rape flitted with carbon-based electricity generation whilst an insistent temporality was echoed in my score with a call and response motif taken from Tom Jones’s Delilah, sung by the coal miners as they left Selby Pit on the last shift.
Location filming team, Peter Wareing and Oisin O’Brian
Editing and compositing, original score & field recording, Nayan Kulkarni
Selby District Council & Arts Council England
Curated by Hazel Colquhoun
