Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
Inspired by Aby Warburg’s titanic visual atlas, – the oldest form of moodboard to date – The Mnemosyne: inside curated moodboards is where we ask artists to walk us through their artistic research with an archive of visual bits (archived images, camera roll pictures, book pages, videos), to contrast algorithmic feeds and restore the fun in personally-curated visual boards.
A work by Cornwall-born artist Elliot Fox is an objet trouvé from an alternative version of the industrial revolution. By creating imaginative artefacts that echo the style of industrial elements, Fox constructs a world made of both natural and man-made materials: a constellation of spirals and minerals, all filtered through the lens of folklore and speculative fiction.
To accompany readers through his solo exhibition, "The Ballad of En Gennick" at Split Riviera (London), running from 26 September to 26 October, we asked the artist to create a visual walkthrough of his artistic process and the main themes explored in the exhibition.
1: Studio shot by filmmaker Connor-Stratton Darling (Above)
My work explores how specific geographical characteristics of an area can affect behaviour, culture, and relationships that are developed within them. I’m interested in all of the innate connections we share with the natural world and the landscape itself, and how these manifest themselves through technology, which is an extension of ourselves. I’ve recently opened my show, The Ballad of En Gennick, in London with Split Riviera: here’s a guided visual tour of the whole process.
2: (Above) First render of the energy mascot character I created called En Gennick, who is the central figure within my recent show. I’ve been attempting to incorporate this idea that there is a more triangular relationship between ourselves, the idea of the sublime natural world, and the hyper-technological structure of control that exists in our reality.
With this project, I’m exploring the idea of chaos and lack of control over these structures. There is a magic in that: things unfathomably powerful. This gave me the idea for En Gennick: a ghostly apparition that's been sent from above, made by these corporate entities to control our behaviour by disarming us through cuteness and humour.
3: Clips taken from the moving image work ‘The Ballad of En Gennick’ (Above)
The video, now showing at Split Riviera, attempts to bridge this gap between the glossy utopia of future promises and promotional industrial videos. The video is a combination of footage filmed by me at various energy production infrastructures. The music has become a real backbone of my work, and here, in particular, it feels like the perfect vehicle to discuss the meandering development of culture
4, 5: Install shots of the show (Above)
The piece attempts to integrate itself into the space’s infrastructure architecturally, and this has become an important part of the work. I think this idea of integration into an interior (or exterior) space allows the work to act as a conduit between these two worlds: the sterile interior controlled environment and the flux that exists in the outside world.
6: Exhibition shot (Above)
The final elements of the work are these data panels that record the local environment in terms of sound and weather, allowing this feeling of a circular relationship between ourselves, our environment, the things we produce and how we are in turn influenced by them.
7: (Above)
Here is a studio video of me wiring a sensor to the base of the sculpture, to try to translate the data in a visual way for the spectators.
8: (Above)
In my work, Copper Sulphate is referenced as an analogy for time. The idea that time is cyclical, not linear, is a repeated motif throughout my work, and the kinetic reference to time, the movement of these works, but also through their materiality.
9: (Above)
This is the original render for this idea of a kinetic sculpture that reacts to its local environment. I tend to make these initial sketches by combining functional forms that already exist in our world. This hybridisation alludes to the relationship we have with the objects that inhabit our environment.
10: (Above)
Amazing book Living with Energy from the late 60’s discussing the radical architects, designers, makers choosing an “alternative lifestyle through alternative energy”. I've always viewed the work through the lenses of what was slightly before me or will be slightly after me. It feels slightly retro or slightly futuristic. I've always been interested in trying to connect with a time when you are slightly removed from. The 80s are a good example – an interesting time in British history. In that case, I’m thinking or talking about a time that I didn’t inhabit, but by proxy, I did. We grew up within its products, politics and design. This concern with the recent past and future is the space my artworks inhabit.
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