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Online Residency - Profiles

David Bickley

Joana Alarcão

Meet David Bickley, an Anglo-Irish artist, filmmaker, and musician whose thought-provoking audio-visual works explore themes of nature and landscape.
During the online residency, David developed a compelling 6-channel video installation titled "bow," which delves into the urgent theme of "the killing of nature." Through rich discussions and philosophical insights, the film draws symbolic references from Samuel Taylor Coleridge's epic poem, "The Rime of the Ancient Mariner." The film's philosophical underpinnings explore the interconnectedness of all life forms and the moral imperatives of environmental conservation. It challenges viewers to reflect on the consequences of their actions and the ethical dimensions of their relationship with the natural world. Join us as we explore David Bickley’s innovative work and the inspirations behind "bow".

23 December 2024

Anglo Irish artist, filmmaker and musician David Bickley (b. 1961) audio visual works/installations are abstracted, largely process led adventures mainly on themes of nature/landscape but also with points of reference to mythology and symbolism. They rely heavily on texture and mood and tend to sacrifice the topographical in an attempt to capture the spirit of the places depicted using memory or feeling. Other works are digitally manipulated landscapes designed to evoke a sense of animation and accelerated time-scale. His practice incorporates film, music, video, immersive environments and sound art. David graduated from WSCAD with a BA in film in 1983. Past exhibitions of his work have included Gallery of City Museum of Aveiro, Portugal; Haun Tie Art Museum, Beijing, China; Common Ground International Touring Exhibition; Lewis Art Gallery, Jackson Mississippi; Centre For Creative Practices, Dublin; Crawford Municipal Gallery, Cork; Glucksman, Cork; The Big Chill Festival,Eastnor, England; County Hall, Cork; Eisge, Carlow; The Dock, Leitrim; and Darklight, Dublin. David Bickley lives and works in Cork, Ireland.

Bow

2024 — Video / Audio / Image manipulation


This 6-channel video installation, born from an online residency with Joana Alarcão, delves deeply into the theme of "the killing of nature." Through rich discussions and philosophical insights, the film draws symbolic references from Samuel Taylor Coleridge's epic poem, The Rime of the Ancient Mariner. Utilising advanced audio and video manipulation techniques, this installation transforms the viewing experience into an immersive journey. Bickley's expertise in digitally manipulating landscapes and creating intricate soundscapes enhances the film's narrative, adding layers of depth and emotion that resonate with the viewer. The film's philosophical underpinnings explore the interconnectedness of all life forms and the moral imperatives of environmental conservation. It challenges viewers to reflect on the consequences of their actions and the ethical dimensions of their relationship with the natural world. By weaving together these rich symbols and themes, the film not only pays homage to Coleridge's literary masterpiece but also serves as a poignant commentary on contemporary environmental challenges. It invites viewers to engage in a deeper dialogue about the preservation of nature and the ethical crossroads at which humanity stands. "Insights of an Eco Artist’s" role as facilitator brings a unique perspective to the film, emphasizing the importance of art in fostering ecological awareness and inspiring change. The platform is dedicated to exploring the impact of art on social, political, and environmental issues.



Can you briefly introduce yourself and your artistic practice? What steps did you take to become the artist you are today?

As a multidisciplinary artist, my practice spans music, filmmaking, and installation art, intertwining these mediums to create immersive and atmospheric works. These pieces delve into the profound symbolic meanings within humanity's relationship with nature, often resonating with folklore, mythology, and abstract states of being.


In your bio, you mentioned using "landscape as a form to reflect and process mythic and folklore motifs, creating a sense of animation and accelerated time-scale." Can you tell us more about this approach?

I perceive landscapes as kinetic sculptures, existing on a scale beyond our comprehension, yet accessible as a latent potential within our subconscious. This metaphysical dynamism is evident in much of sculpture, particularly in the works of Barbara Hepworth. My creations often incorporate the digital distortion of static forms, juxtaposed with time-lapse cinematography to explore these concepts.



What motivated you to apply and participate in this online program? What were your initial goals and expectations?

Over the years, I have cultivated a creative practice characterized by an almost visionary exploration of diverse avenues and opportunities. When inspiration strikes, I respond swiftly, often producing work spontaneously. This approach led to an unexpected yet delightful collaboration with open, friendly, and creative individuals.


Can you tell us more about the project you worked on during the program? What was the theme or focus?

One of our intense group discussions coincided with a podcast I had recently heard about "The Rime of the Ancient Mariner." As a long-time admirer of Coleridge, I was unaware of the deep ecological symbolism within the text. Our conversation inspired the development of a short film incorporating these motifs. Upon learning the format of the group's online exhibition, I deconstructed the film into multiple simultaneous channels. The audio track, rediscovered while searching for sounds to accompany the stretching of a bowstring, was enhanced with other slowed-down "stretching" sounds. The film's noir black-and-white grading aimed to evoke a daguerreotype Victorian world, bridging the gap to Samuel Taylor.



Could you tell us more about the film you are currently working on? What are the typical steps involved in creating a film?

My recent film, titled "RITE 24," has its origins in 1979. While researching a local ley line under the guidance of my progressive environmental studies teacher, Miss Hod, I "borrowed" a reference book on central Dorset's history. Adjacent to my area of interest was Binghams’s Melcombe, an enigmatic house dating back to the 1300s. Years later, when creating my degree film, I seized the opportunity to explore this location. Mrs. Langham, along with her husband John, graciously hosted my crew for two shoots. The resulting film, "The Rite of Rain," won first prize at the Sony Film Festival in 1983 and was screened at the National Film Theatre. Recently, I rediscovered the film in the BFI archive and, with support from the Arts Council of Ireland, remade it using fragments of old and new footage, along with narration from an old oilskin notebook.


Can you describe how you and your fellow artists inspired or learned from each other during the collaborative process?

Our diverse disciplines and practices allowed us to exchange ideas and processes in complete trust. This synergy has fostered new ideas and physical works, harmonising with the residency's intentions and the collective spirit of our endeavors.



If you could give one piece of advice to future participants of this program, what would it be?

If I could offer one piece of advice to future participants of this program, it would be: Trust in chance, for it is the key to adventure.


Find more about the artist here.

See the immersive virtual exhibition here.


All video and images courtesy of David Bickley.

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