Parallel Nature was commissioned as part of Dangerous Discoveries at the National Trust’s Biddulph Grange Gardens. This is part of the Trust New Arts programme. Combining electron microscope imagery of plants from the garden with archival images and footage shot on site, Sarah crafted a deliberately layered structure to the work. The electron microscope literally shows things that are invisible to light, making the invisible visible.
“For Dangerous Discoveries I worked with Professor Beakes of Newcastle University using electron-microscope imaging techniques to reveal incredible detail of the structural surface of plant material gathered at Biddulph. I was thinking about the notions of science and religion as they have shifted from Bateman’s, the original owner of Biddulph, time to the present day.
Today, we look to science as the definer of ‘truth’ as opposed to the Victorians of Bateman’s generation who would have deferred to religion and found the ‘new’ science of Darwin and others a challenge. One could argue that while today we take the theory of evolution and geological time spans for granted, we are still struggling with the residue of a worldview that has a sense of self as dominant over nature rather than dependent on it and responsible for it.”
Nine Hundred and Sixty Five Cubic Feet was commissioned by Red Nile projects for Berwick Film and Media Festival and made in collaboration with Helen Edling. Together, the artists created several stop-frame animation videos using objects found in the space or related to it and drawing directly on the prison walls. The work was inspired by the ‘graffiti’ etched into the wall of the old gaol cells in Berwick Town Hall where many occupants would have been awaiting deportation to the colonies. The title refers to the dimensions of the cell.
Double Exposure was commissioned as a Small Wonders Award from Picture This and was selected for the shorts programme, Ways to Walk, at the Rotterdam International Film Festival, 2007.
“Double Exposure constructs a montage of decontextualized context shots. Rather than photographs of unknown locations and nameless protagonists, the more common source material for Tulloch’s manipulations, the BBC archive material was often by contrast both visually recognisable and complete with historical and biographical metadata. The need therefore to edit away the familiar, to shift the prominence of subject matter, became all the more urgent.
Double Exposure’s abstract lens offers a certain sense of namelessness illegibility to these often iconic settings. Dispensing with the inherited taxonomy and subject matter of the films, colour profiles become the structure around which the three-film, three-screen installation sequences. As such, Double Exposure creates a series of self-referential loops that circle independent of each other, and yet with recurring simultaneity.”