Linda Baker Yellow Dress, 2003

Linda Baker’s practice is a meditation on strange behaviour within the cultural context of hysteria. She performs primarily for the camera. This allows her control over the de-constructed narratives suggested in her work. The pieces oscillate between reality and constructed fantasy, expressing an internal world externally.

Linda Baker's video work is informed by her background in performance. She studied Theatre Arts and worked as an actress. She is currently in the final year of her BA Hons Degree in Fine Art at Wimbledon School of Art. Exhibitions include 'BHF Bank', 'Guildford Arts' (University of Surrey), 'Ominous sentiments' at Hotel Bellville, Elbow Room and Wimbledon School of Art.

Amanda Beech Gz and Hustlas, 2002

Beech’s video works re-film, re-edit and re-source cult movies of the Hollywood action-adventure genre. The work re-deploys these narratives of "force as justice" with a domestic awkwardness that both submits and adds to the violence on-screen. Here, the work interrogates the theme of pleasure and violence as both an abstract and a particular experience.

Beech lives and works in London, she has a PhD. in Fine Art from Goldsmiths College, London. Recent group exhibitions include: Business Pitzhanger, Manor Gallery, London, 2003; Don’t Fight It! Gasworks Gallery, London. Solo shows include The Patriot, The Economist Plaza, London, 2003.

Richard Billingham, Jason Chopping, 1999

“Jason Chopping is the most spontaneous video piece that I have done. By chance, a catchy song came on the radio and Jason, knowing I had the video camera trained on the mirror on which he was chopping, started chopping in rhythm to the beat of the track. He continued chopping in rhythm until the end of the song and the result is like a little pop video but also hopefully says something about our relationship”. (Richard Billingham).

Richard Billingham was born in 1970 in Birmingham, and lives and works in Brighton. Recent solo exhibitions include ArtSway, Hampshire, 2004; Anthony Reynolds Gallery, 2003; Trafo - House of Contemporary Arts, Budapest, 2002; Ikon Gallery, Birmingham, 2000, touring to: Douglas Hyde Gallery, Dublin; Nikolaj Contemporary Art Centre, Copenhagen; Brno House of Arts, Czech Republic; Hasselblad Centre, Goteberg, Sweden and Kunsthalle Willhelmshaven, Germany.

David Blandy, What is Soul? 2001, Ghost 2001

David Blandy’s work deals with his problematic relationship with popular culture, highlighting the slippage and tension between fantasy and reality in everyday life. He searches for his cultural position in the world, humorously asking how much the self is formed by mass-media - records, films and television and whether he has an identity outside that.

David Blandy lives and works in London. He graduated with an MA in Fine Art Media at Slade School of Art in 2003. His work was featured in ‘Beck’s Student Prize for Film and Video 2002’ at the ICA, ‘Nothing Special’ at FACT, 2003, ‘LUX Open 2003’ and ‘New Contemporaries 1999’. He recently completed a film commission for Artangel and undertook an artist’s residency at Grizedale Arts.

Ian Breakwell, The Illusionist, 2001

The interdependency of image and text has been a constant thematic background to Breakwell’s work. "The Illusionist" toys with ideas of faith, and questions situations where faith is reliant on a suppression of disbelief. The title references Breakwell’s childhood fascination in magic and deception. Thus the telling of the story, which is true, highlights the potential gullibility of faith. In witnessing or choosing to believe in such events, skepticism must be suspended.

Ian Breakwell has had over fifty solo exhibitions worldwide in the last 35 years and exhibits regularly at Anthony Reynolds Gallery. He is represented in many museum collections. A major video installation ‘The Other Side’ (2002) was acquired by Tate and is showing at Tate Britain from late March until November 2004.

Gianluca Bonomo, Settlement 02, 2003-04

Settlement 02, is part of a series of video art works which present an empty stark place colonised by clones of the same individual. This work is the iteration of both a minimal action (the head of one of the clones obsessively moving up and down) and almost identical presences within a symbolic, decadent location, in which existence in its awkward stillness, can be perceived as an overgrowing expansion of a single controversial state of mind. 

Gianluca moved to London in 1998 after living and exhibiting in Rome. He studied TV and Film production and worked as storyboard artist and art director (Stag, BBC1; Blind Sensations Channel 4 etc). In 2001 he co-funded "Loft Production films". His shorts have been selected for several festivals, including Dance on Screen Film Festival (2002 and 2003, UK), Meniscus film festival, Juice film festival (UK) etc. In 2003 "Stark" received the award for Dance on Screen - Open Forum International Film Festival in London.

Ian Bourn, Black White & Green - the way of pie, 2003

What do YOU see in pie and mash? In a traditional eel and pie house, solitary diners ponder their steaming dinners, glimpsing a personal landscape on their plate. A meditation on the pie and mash aesthetic - an exploration of the terrain and a revelation of what wriggles just below the surface.

Ian Bourn is a film/video artist and performer. Founder member of HOUSEWATCH (est. 1985). Single screen works: Lenny's Documentary, 1978, The End Of The World, 1982, Sick As A Dog, 1989, Monolog, 1998, The Kiss, 1999 and Alfred Hitchcock, 2000. Collaborations and multi-screen and installation events include: Cinematic Architecture for the Pedestrian, London, 1985-86, Little Big Horn, Southbank, 1992, Paperhouse, Japan, 1992, Conservatory, London, 1997, Revolver, Canary Wharf, 1997.

Lela Budde, Only Joking II, 2004

The artist had asked friends and fellow artists to tell a joke in front of a camera. By suspending the participants in an unspecified time limbo before speaking, she invites the viewer to study the finer layers of growing tension and fragility beneath the bashful performance. The camera becomes the distancing tool of control. Lela Budde is interested in the notion of time as a social structure. By de/re-constructing linear, narrative forms of ‘passing of time’ in film, the artist makes perception visible as an individual reflection of the real.

Lela Budde was born in Germany and lives and works in London and Munich. Her work was recently shown in Japan at the Mov.03 Festival and has been selected for EASTinternational 04 in Norwich this year.

Gayle Chong Kwan, It's Going to Get Worse, 2002

Gayle Chong Kwan’s practice encompasses site specific and participatory approaches in the form of installations - combining photographic, sculptural, video and performance elements. Her work interrogates issues of cultural identities and communal aspirations. Commissioned by the Serpentine Gallery, It's Going to Get Worse, developed from a residency at Speakers' Corner. Speakers attempt to come to agreement on Utopia.

Recent work includes “Cockaigne”, Gathering Momentum, Chinese Arts Centre, Manchester, Pause, Gallery Los 29 Enchufes, Madrid, Sensus, developed for Shift, Leeds. Projects in 2004 include a photographic commission by Autograph a-b-p, a group exhibition, Entente Cordial, Paris, and a residency at the Printmaking Workshop, Venice.

David Cotterrell, God’s Eye View, 2003

Computer-generated red dots, each representing a human life, meander through a metropolis of three-dimensional boxes. The decisions the ‘sprites’ make are programmed into their make-up, based on statistical information relating to human traffic flow in urban spaces. Thus they are continuously deciding their fate, rebellious or conformist. God’s Eye View reduces human choice to a series of game-like conditions.

David received an MA from Chelsea College of Art & Design in 1997. Divided between galleries and the public realm, his works are linked by an interest in site-specificity. He has exhibited in the ICA, London, the Courtauld Institute, London, Mappin Gallery, Sheffield, and the CCA, Glasgow, and internationally in Bremen, Moravia, Seoul, Siena, Tel-Aviv, Vancouver and Zurich. Public works: Birmingham, Hull and London. He is currently working on a project in the Gorbals, Glasgow, a commission for the Unicorn Theatre, Southbank, London, and in the redevelopment of Ashford.

Stuart Croft, ROCOCO 55, 2002

Rococo 55 tracks the chaotic sex lives and violent self-destruction of the interconnecting characters: a male prostitute, an art-house ‘erotica' film director, a posse of weekend porno actors and four Samaritans. The movie comprises a series of short, dialogue-based films. As the viewer experiences one film, another emerges from behind and takes over in a long, extended dissolve. Rococo 55 is replete with reversals, impossibilities, replacements and contradictions.

Stuart Croft studied Fine Art in Newcastle, Dublin and London. He completed his MA at Chelsea College of Art in 1998. Recent exhibitions include: Video Mundi, Chicago Cultural Center, Chicago, 2004; Hit, Rhodes + Mann, London, 2003; Senso Unico, San Salvador Convent, Venice, 2003; 25hrs, Rococo 55, Danielle Arnaud Contemporary Art, London, 2002; B-Hotel, PS1/MoMA, New York, 2002. Stuart Croft is represented by Rhodes + Mann, London.

Beth Derbyshire, BABEL, 2003

Babel presents 12 refugees performing two actions at the same time one after the other. The individuals speak an oath of allegiance to this country - a stipulation to gain citizenship, following which each participant speaks a text in their own language about leaving. On the other screen each individual performs an action which they associate with their country of origin.

Derbyshire has been exhibiting internationally for eight years with amongst others work exhibited at the National Maritime Museum, Peterborough Museum, EVA international, 291 Gallery, Milch, Museum of Installation and Stills Gallery. In 2003 Derbyshire participated at the Sharjar Biennale, United Arab Emirates, and has a one-person show at the Brussels Art Fair 2004. Derbyshire is developing a public project Message with the National Maritime Museum which involves sending a message to Government on Remembrance day in 2005 using a human chain of semaphore signalers.

Larissa Fassler Teen Couples, 2003

In Teen Couples, Larissa Fassler asked a group of fourteen-year-olds to pose for her, in what they believed 'a couple looks like'. Cool and confident on the one hand, blushing and insecure on the other, these young teens dealt with role-play and how people view, construct and present themselves, only to have this construction be betrayed by body language and emotion. Mainly photo-based, but also using video, Larissa Fassler's work focuses on interactions with the public and on documenting these relationships and their social contexts.

Larissa Fassler recently completed her MA in Fine Arts at Goldsmiths College, her work has been shown in Canada, the US, and Europe. She recently exhibited in Out and About, Century Gallery, London, and in Bootleg, Spitalfields Market. In 2002 Fassler had solo shows at YYZ Artists' Outlet, Toronto and at Westernfront Gallery, Vancouver. She has an upcoming solo show at Articule in Montreal. Fassler currently lives and works in Berlin.

Charlotte Ginsborg, Community Event, 2002

Community Event addresses people’s persistently complex and intriguing relationships to their jobs. Touching on issues of social division, the piece pulls apart traditional narrative structure in order to underline the uncertainty of character whilst simultaneously drawing attention to the necessity of storytelling to mediate experience. Through depicting near violent encounters, the video investigates the point at which behaviour can erupt into the public arena of city space.

Charlotte Ginsborg graduated from Goldsmiths College, London 2002. Selected group exhibitions include: Weimar Kunstfest, Neues Schloss Ettersberg 2003. Radar, Extra 50, Venice Biennale 2003. Mostyn 13, Oriel Mostyn Gallery, Wales, 2003. Chockerfuckingblocked, Jeffrey Charles Gallery, London, 2003. Tales; New video Art from London, Muu Gallery, Helsinki, 2002. Randomize Film and Video festival, Sovi Arts Centre, London 2002. All Back to Mine, Deptford X Arts Festival, London 2001. Commissions: ‘Land Securities’ 16mm film, part of public art programme for Westminster Council - completion 2005.

Simon Green, Aqua Gym, 2003

Anthony Gross Animal Kids, 2002

Using mainstream software and models downloaded from the internet, Anthony Gross constructs 3D computer portraits and generic characters laboriously customised and animated. Playing narrative expectation against strict formal repetition, they are typically only distinguishable through slight shifts in appearance, colour, gesture or expression. The result is a strange, humorous mismatch between visual representation and dramatic expectation. Anthony Gross graduated from Goldsmiths College, MA Fine Art, 2001, and from The Bartlett School of Architecture, UCL, MA in Architecture, 1991. Selected shows include Mesmer, temporary contemporary, London, 2004; Sound and Vision, Meltdown Festival, Royal Festival Hall, London, 2002. He won the award for Best Multimedia Work at the ’Portobello Film Festival, London 2003.

Chris Hammond, Treachery as Strategy 2002

The work is an examination of the role of the artist and their relationship to art institutions. The work is not a demonstration in a political sense; rather an exploration of the artist's desire to exist both inside and outside such institutions. The title comes from the writings of Che Guevara, where he talks about breaking the mold of institutions through the weapons of treachery and surprise. Historicizing the image of the burning Tate via the use of grainy black and white footage, throws into question the intentions of the artist as fundamentalist or purveyor of spectacle.

Chris Hammond is an artist and curator. He is the founder and a director of MOT an independent artist run gallery in the east end of London. He has curated numerous exhibitions and has worked with many established artists. His own work has been exhibited widely, most recently in the IMAGING LONDON exhibition at Houldsworth last year.

Richard Holgate, Family Portrait, 2003

Richard Holgate uses video in its simplest form to investigate a dialog between the camera, subject, artist and audience. The work also explores aspects of storytelling, duration, chance, composition, friendship, and humour.

Family Portrait captures a moment that is solely unique to the single family yet is clearly familiar for all to recognise. Where this work differs from other portraits is that it captures more than a single frame.

Richard Holgate is Beck's Futures Film and Video Student Prize Winner 2003.

Graham Hudson, New York Fall 03

“We're all different, it's the one thing we have in common. The way we move, the way we laugh. 6 billion pairs of eyes in the world and no two pairs are the same. Every one of us unique, different quirks, different tastes, different passions, it’s what makes life interesting. Short breaks at Centre-Parks - because everyone is different, for a brochure, call 08705 700 222.”

Graham Hudson graduated in MA Fine Art Sculpture Royal College of Art, London, 2002. Selected solo exhibitions include: VTO London, 2005; Jerwood Artist's Platform, Jerwood Space, London, 2004; Pusher, Bowieart, Tower Records, Piccadilly Circus, London, 2002. Group exhibitions include: Collage, Bloomberg SPACE, London, 2004; Bloodshot brighteyed, Tea building, London/Berlin, 2004/5; Portal, Studio J Kyoto, Japan, 2003; New Religious Art, Liverpool Biennale, 2002; Sound and Vision, Royal Festival Hall, London, 2002; Becks Future's Student film & video festival, ICA, London, 2000. Awards: Deutsche Bank Pyramid award for art 2002, A to B via Sea, P&O and British Council, 2002.

Tom Hudson, Untitled, 2003

The work is attempting to address ideas surrounding photographic realism, using digital technology to manipulate photographic source material to produce a liminal piece of work, situated between photography, film/animation. Has digital technology itself made the idea of photographic realism redundant, or was realism an illusion anyway?

Tom Huson graduated in 2003 with BA Photography from the London College of Printing.

Runa Islam, Stare Out (Blink), 1998

Stare Out (Blink) was originally made as a 3min 16mm film relating specifically to the method by which film materialises its immaterial sources. The lucidity of movement/image depends upon the retinal screen’s reception. These simple yet by no means primitive processes of optical illusion articulate films almost magical reaction to the black and white negative image. Islam's short poignant films, often lasting only a few minutes, recreate cinematic moments of enchantment and disclose the artificial, constructed nature of filmmaking itself.

Runa Islam was born in Dhaka, Bangladesh and lives and works in London. Islam has recently exhibited in group exhibitions at the Whitechapel Art Gallery, London, The Norwich Art Gallery and the Witte de With Centre for Contemporary Art in Rotterdam. In 2000 she had her first solo exhibition in the UK at Fig-1, London and was awarded the prize for the best project in Guarene Arte 2000 at Fondazione Sandretto Re Rebaudengo per l'Arte, Guarene d'Alba, Italy.

JOHAN JONASON & MICHAEL JOHANSSON that's low, 2002

Jonason's performance reveals his true inner state to himself and photographer Johansson, simultaneously. None of them believes him.

Ben Judd, The Future Never Looks How You Expected It To Look, 2003, I Love, 2003

Judd's practice focuses on the duality of intimacy and distance; on the idea of being simultaneously connected and disconnected from the world. In his recent work, Judd has filmed groups of people who are engaged in the act of filming or photographing different subjects (tourists, trainspotters, amateur photographers). He has also photographed and made videos of backdrops and sets in amateur photography studios. These idealised scenarios are often poorly painted or constructed, and yet suggest a believable narrative, however romantic or fantastical. The Future... is made from a series of painted backgrounds that are used by portrait photographers. Judd blended them on a video editing program so that they become a continuous animation, in a sequence that provides the smoothest transition from one image to the next. The title arose from a realisation that our expectations, or mental images, are inevitably different from what we actually experience. This idea of a distance in many experiences, coupled with an imagined closeness, is central to Judd's work. In The Future... a voice attempts to flesh out and understand a series of oblique, anonymous images. The words both fall short of a successful description, and also transform them beyond their original intentions.

Ben Judd lives and works in London. Recents shows include: SOZIALE KREATUREN - Wie Körper Kunst wird, Sprengel Museum Hannover, Germany. Strangers: the first ICP triennial of photography and video, International Center of Photography, New York, 2003.

Bettina von Kameke, Bayswater Road, 2002

"In the last couple of years I lived with different communities, observed and experienced their way of life and their rituals. These experiences are the basis of my work." Bayswater Road is a documentary of life in an enclosed order of Benedictine nuns. The artist lived within their enclosure for eight days. The work emphasises the atmosphere and rhythms of the nun’s daily activities.

Bettina von Kameke graduated from Central St Martins College of Art and Design, London 2002.

Solo Exhibitions include: Untitled, The Void, Soho, New York, 2001; Bettina von Kameke - Fotografie und bewegte Bilder Albert und Egon von Kameke - Experimentelle Fotos der Jahrhundertwende, E.v.Kameke Museum - Galerie, Potsdam, 1998. Group Exhibitions include: Looking Awry, Gate Cinema, London, 2003; ArtinHeaven, Brighton Arts Festival, Brighton, 2002; International Festival Hardkijken, Arnhem, Netherlands, 2002; Future Map 02, The London Institute Gallery, London 2002; The Island Film & Video Festival, The Prenelle Gallery, London.

Evil Knievel, EVIL KNIEVEL - I LOVE AMERICA presented by Jens Kabisch & perfektewelt, 2003

"You can't forbid children to do things that are available to them at every turn. God told Eve, 'Don't give the apple to Adam,' and look what happened. It's in our nature to want things we see."

Evil Knievel is a product of perfektewelt. With his stuntshows he has toured numerous places, most recently Haus der Kunst, Munich, Hoxton Distillery, London, and Musterraum, Munich. For information on upcoming events please visit: www.perfektewelt.com

Mark Lewis, Lawson Estate, 2004

Mark Lewis' works, which are all shot on 35mm film, are designed to touch on and reflect upon the ambivalent relationship between movement and stillness, duration and instant, that has always haunted the cinema. This ambivalence necessarily gives rise to aesthetic questions to do with the representation of time itself. Time, in Lewis' work, makes its presence felt through the duration of a particular piece, the inscription of the moment at which it was shot or the quality and temporality of the action whether that of the camera or event. As these pieces are shown as installations in gallery conditions (exhibited with DVD projection), they also open up, or indeed, demand, their spectators' own engagement with the temporalities of viewing. LAURA MULVEY

Mark Lewis is Principal Lecturer in Research at Central St. Martins School of Art and Design and a co-editor of the international art journal Afterall.

Gary Martin, The Big Picture, 2003

Gary Martin’s work is a summation of his life in relation to the various roles, expectations and situations which ‘being a man’ forces upon him. Not in a macho way, and certainly not in a reaction to feminism, he intends this self-analysis to function on several layers - to both exposing and covering up the myths of masculinity. Gary Martin is from London. He was a paramedic for 22 years. He graduated from Central Saint Martins in 2003. Recent exhibitions include Altitude, CSM, 2002; Lockers, Changing Rooms Gallery, London, 2001; ResN8, The Studio, Beckenham, 2001.

Seraina Mueller, Dedo de Dios (God's Finger), 2003

Seraina Mueller's work deals with the complex relationship between individual impulse and established norms of behaviour. Her recurring strategy is to videorecord site-specific, unstaged performances that merge ‘found movements’ of unwitting passers-by with the improvised performative activities of the artist. Being unfamiliar with the subjects, the artist captures instantaneous, improvised events which exclude the possility for rehearsal or repetition, fostering unconscious and authentic behaviour. Her work questions how much the ‘performing’ of our identities and personalities shapes the experience of our everyday lives. In Dedo de Dios..., the voyeuristic act of observing someone in a derelict state becomes increasingly entropic, culminating in a violent reversal of roles.

Seraina Mueller was born in Germany and moved to London in 1998 where she currently lives and works. After completing her MA in Contemporary Art at the Sotheby's Institute, London, she studied Fine Art at Central St. Martins where she graduated in 2002. Her work has been shown in England, France and Germany and most recently at the ICA, London.

John Smith, Worst Case Scenario, 2003

John Smith's films, videotapes and installations have been shown in cinemas, art galleries, at over a hundred international film festivals and on television throughout the world. Worst Case Scenario starts out as a series of stills depicting daily life on a Viennese street corner. As Sigmund Freud casts his long shadow across the city, the static world slowly and subtly comes to life, and an increasingly improbable chain of events and relationships starts to emerge.

Recent exhibitions include one-person shows at Pearl Gallery, London, Open Eye Gallery, Liverpool, Australian Centre for the Moving Image, Melbourne, and retrospectives at film festivals in Cork, Oberhausen, Uppsala and Tampere. Worst Case Scenario received the Gus Van Sant Award for Best Experimental Film at the 2004 Ann Arbor Film Festival.

Jack Southern, Oxymoron, 2002

Oxymoron plays with the potential of creating a fictitious narrative by juxtaposing sound and image from different sources. The work combines edited audio taken from an American documentary about the 'Hubble' and visual images taken in a domestic environment. The piece aims to reference human fragility in the midst of collective endeavor.

Jack Southern recently completed his MA at the Slade School of Fine Art. Exhibitions include (Tales) New Video Art From London, Peri Center for Photography, Helsinki; Odds on Placebo, Gallery Morcilla, Barcelona; and Home, Focal Point Gallery, South End on Sea. Residencies: Artist in Residence at ACME Fire Station and 'La Fabrik', Berlin.

John Strutton, Liar, 2003

“Liar is one of a number of short video works made over the last 5 years that involve either myself or my father in a performative act. The act itself requires physical and/or emotional vulnerability in order to filter notions of belief or identity through absurd or disturbing re-enactments of popular or vernacular cultural forms. The works involving myself (including Liar) were recorded in either private or public locations in London. Having been the first person in my school to tattoo an arrow pierced potato shaped heart on my forearm, with a compass and ink, my relationship to the activity has always been one of both love and regret.

Most local authorities won't grant a license to a tattoo parlour to mark the face or hands, hence the surreptitious atmosphere of this piece, as if the camera were hidden in a bag. You know what is going to happen from the start. All the cultural codes are there, the check button down shirt, the tattooed forearms and abusive stickers on the machinery. The sound of the tattoo gun is whining and unrelenting.

You prepare for the real, the authentic, and the unflinching, but receive an anticlimax, dumb and physically pathetic. Real participation is impossible (apart from perhaps the physical empathy with the imagined pain involved). We are just observers, and he is just a liar.” John Strutton

John Strutton received an MA in Painting from the Royal College of Art in 1998. Solo Exhibitions include:777 Sara Meltzer Gallery, New York. Sixstring, Nylon, London. Hesitator, Parkhaus, Dusseldorf, Germany. Father, Son & Scary Ghost, Nylon, London. Selected Group Exhibitions include: Hand Luggage, K3 Project Space, Zurich, Switzerland. Air Guitar, Milton Keynes Gallery, Milton Keynes, Cornerhouse, Manchester and Touring. Band of Nod, Centenary Show Party, Whitechapel Art Gallery, London. Funny, Andrew Mummery Gallery, London.

Jesse Watt, Trap Tour (Last Chance Before the Revolution), 2003, Pressure Point, 2003

Jesse Watt’s work bridges technologies both antiquated and modern. Beginning with 16mm films taken from history’s darker corners, these elements are then digitally manipulated, edited and combined with original sound-work to create new and often uncertain entities. A confrontation between filtering on several levels results in artwork that is provocative yet committed to enigma.

Jesse Watt is a graduate of the Film Program at the University of California – Berkeley, and received an MA in Fine Art from Central Saint Martins College of Art and Design in 2003. Selected group and solo shows: Bing Gallery; Oakland, 2000 (solo show); MA Fine Art Degree Show, Central Saint Martins College, London, 2003; Touch & Go, Space 44, London, 2003; Selected Works, 42nd St. Gallery, Oakland, CA, 2001. Experimental Film Works@Berkeley–Berkeley Art Museum/Pacific Film Archive; Berkeley, CA, 1999.

Neil Wissink, Sad Prince, 2003

Neil Wissink's practice involves ways of making performance specifically for the camera in order to examine the differing status of works which are ‘documents’ and work using elements of performance but considered whole or self-referential. Sad Prince is an experiment in improvisation, repetition and the way that the editing process coaxes the work into something that is more a layering of narratives than a document.

Born in Canada, Neil Wissink came to London in 1997 and studied fine art at Central St Martins. He has exhibited his photographic and video work in galleries and festivals in Canada, London, New York, Barcelona, Lisbon, Prague, Frankfurt and Estonia.

Ming Wong, Ham&cheesomelet, 2003

Ham&cheesomelet is a scrambled Shakespeare Sonnet based on the immortal words of Hamlet, "To be or not to be, that is the question" featuring the artist as the Bard.

Ming Wong was born in Singapore in 1971 and has lived in London since 1996. He graduated with a MFA from the Slade School of Art, UCL, in 1999, after training in Chinese Art and writing for the theatre in Singapore. Over the last few years Ming has developed a diverse range of digital art projects, which have included public projections, interactive performances and interventions as well as educational work.

Ming has shown at Chinese Arts Centre, Manchester, 2004, Windows Gallery, British Council, Prague, 2003, Sackler Centre of Arts Education, Serpentine Gallery, London, 2002, EAST International, Norwich 2000, Watermans Arts Centre, London, 2000. He is currently the Pearson Creative Research Fellow at the British Library.