The piece layers multiple and varied experiences, exploring the dynamics of appropriation and power. Set in the Docklands in east London, it builds upon Cammock’s interest in failing colonial industries, set against the backdrop of futuristic new-build flats and state-of-the-art transport links.
Helen Cammock works across moving image, photography, writing, poetry, spoken word, song, performance, printmaking and installation. She is interested in histories, storytelling and the excavation, re-interpretation and re-presentation of lost, unheard and buried voices. Helen uses her own writing, literature, poetry, philosophical and other found texts, often mapping them onto social and political situations.
Current and recent exhibitions include: Whitechapel Gallery, London; Somerset House, London; A Plus A Gallery, Venice; Reading International 2019; Irish Museum of Modern Art, Dublin; Void, Derry; Alfa Nova Galerie Futura, Berlin; 198 Gallery, London; Cubitt, London; The Tetley, Leeds; Open Source Contemporary Arts Festival; Hollybush Gardens, London.
Her work has recently been screened as part of the Serpentine Cinema Series and Tate Artists Moving Image Screening Programme. She has written for Photoworks and Aperture magazine and was shortlisted for the Bridport poetry prize in 2015. Her work has been published in The Photographers’ Gallery journal Loose Associations and in an artist book and vinyl 12” Moveable Bridge with Bookworks, London. She was awarded the Max Mara Art Prize for Women in 2018 and is shortlisted for the 2019 Turner Prize.
The Digital Array film programme is generously supported by the Barker-Mill Foundation. Special thanks to the artist, Arts Council Collection and Southbank Centre, London.