Red Planet (2006)
A returning theme in my work is the idea of the value of folly, whether working through processes and actions that contradict the purpose of a piece of equipment or using material for the purpose of concept over its primary practical function. This is easier to explain by example, one such activity involves producing near exact recreations of existing notice boards but with all the information blurred out by computer, using technology to not represent, convey or communicate. (See an example on gallery page as In a Big Country (Dedicated to the memory of Stuart Adamson) 2003.) These objects are created to function in the space like a theatrical prop in reality and temporarily dislocate the viewer from their relationship with the written word and printed image.

In 10,000 Reflective Copper Discs (2004) a carpet of 10,000 pennies was laid on a street corner as part of a city wide publc arts project. The work was a comment on the nature and value of public art and how while artists see objects in other imaginary forms, generally people see them for their primary function. The piece existed as art for 20 minutes before it was taken, without permission, by the local community and briefly 'enriching' the local enconomy. The removal was documented.
In Red Planet (2006), the planet Mars, was photographed when at was that its closest point to earth in 67 million years (26th August 2004). Using a low-resolution digital camera, the planet occupied less than 1% of the original image. This natural wonder was then enlarged on a home PC and open to the interpretation of commercially available technology. The resulting image being more a representation of the computer's parameters than the original image.
The Local Group 2008 version
Digital images B/W
Mars, Mercury Saturn Jupiter Venus

Printed to 1.4m x2.4m each, on board against gallery walls.



Battle of the Planets (2006) is a short film of hands struggling to complete a Rubik Cube. Filmed in monochrome and looped it never has an outcome. The work came out of an interest in the relationship between the two hemispheres of the brain, one creative, the other more organising and practical. A dilemma and conflict is played out over the Rubik cube as it constantly re-composes itself.

The Interludes (2004) a four screen installation looks at those moments when the mind is perceived a being idyll while it appears through the body to be creative and performing a musical piece on a subconscious level. Four characters in an office present four echoes of classical pieces relating to their personally and position in the hierarchy of the working environment. The young office assistant files her nails mimicking a violinist to the rhythm of Vivaldi's Spring, the Manager raps his fingers on the day planner tapping out Rossini's William Tell Overture, his secretary taps her nails on her cup suggesting the notes of Morning from Greig's Peer Gynt Suite while a  salesman talks on the phone as he clicks his pen to the rhythm of Prokofiev's theme from Romeo and Juliet in his head. The resulting combination produces a percussive music perceived as out of nothing.

While in Prop I was interested in creating a hidden monument, sited in woods, a 10 metre mirrored sign/folly to a 1960's view of the 21st century, it surface reflecting back the woods.It is visually and conceptually lost like the understanding of the future from my childhood. Currently I am working on a series of animations which are cyclic and attempt to operate as projections of light of flat surfaces,appearing as static they 'perform' momentarily over the duration of the exhibition, the action possibly seen by only a small number of viewers or possibly no one.


For further information of the above and other works please contact through this site.
further images viewable on gallery pages. Richard Higlett 0208

still from Still life with Apples and a plate of Biscuits 2001