Associate Studio Programme 4 : Duncan Campbell

Duncan Campbell visited the studio at the Highline building in June 2018. We began our conversation about Duncan’s current practice through his interest in flip-dot displays, first made prevalent through their use in the Montreal Stock Exchange as a visual representation of the rising and falling of stock values.
Duncan was interested in the format of the mechanism as both a visualisation of information which is received and then outputted by the machine, as well as his time spent with a piece of equipment with a complicated yet largely out-dated system. With a lacuna of easily accessible ‘how to’ knowledge available, Duncan spoke with a fondness of the slow process of getting to grips with the technology, and also as one he was becoming increasingly familiar with through his time spent with the flip-dot display in his own studio. Eager to open the conversation up, Duncan invited us to begin speaking about our own practices as well as inviting questions from the associates in regard to his own. The discussion moved quickly and fluidly through Duncan’s vastly varied and intricate practice, spanning from his 2008 work ‘Bernadette’ and his close relationship with archival research, to references of Samuel Beckett’s ‘The Unnamable’.
Following a long and generous discussion, our conversation moved to two of the associates presenting work for the artist visit. Beginning with Daria Blum, who showed a film work in progress, and of which the epic soundtrack would be used alongside a performance work currently in the making. Secondly, Joshua Waterson, who presented a composed piano piece through a Musical Instrument Digital Interface. Joshua Waterson.

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