• 66.86m

      Wood, John; Harrison, Paul (2004)
      “66.86 m”, is a single channel video documentation of a ‘drawing contraption’ of the artists’ devising, in which ropes are pulled through a box in order to produce a three-dimensional object, in this instance a chair. This is the first work Harrison & Wood produced without a figure present within the frame, and shows the making of a three-dimensional drawing of a generic chair. The continuous take from a fixed camera, together with the jerky movements of the rope and pulleys (used to produce the drawing) re-enforces the distance between the mechanical work and current digital technologies. The work examines the relationship between what is present within the frame and what is excluded. A very direct relationship is formed in that it is evident that what is onscreen is being directly activated by what is off screen, contrary to most film making where this relationship is hidden. The work also examines the relationship between the three dimensional space in which the activity is taking place, the activity itself, and the video.
    • as logical as possible

      Harrison, Paul; Wood, John (Kunstverein Arnsberg, Germany, 2017-02)

      Harrison, Paul; Wood, John (MUSEO DE ANTIOQUIA, MEDELLIN, COLUMBIA, 2014)
      John Wood (b.1969, Hong Kong) and Paul Harrison (b.1966, Wolverhampton) met in 1989 at the Bath College of Higher Education, and have worked together since 1993. John Wood and Paul Harrison make single-channel videos, multi-screen video installations, prints, drawings, and sculptures that elegantly fuse advanced aesthetic research with existential comedy. The artists’ spare, to-the-point works feature the actions of their own bodies, a wide variety of static and moving props, or combinations of both to illustrate the triumphs and tribulations of making art and having a life. The videos maintain a strict internal logic, with the action directly related to the duration of the work. Inside this 'logical world' action is allowed to happen for no apparent reason, tensions build between the environment and its inhabitant, play is encouraged and the influences on the work are intentionally mixed. In their not-always- successful experiments with movement and materials, many of which critic Tom Lubbock has described as “sculptural pratfalls,” Wood and Harrison employ exuberant invention, subtle slapstick, and a touch of light-hearted melancholy to reveal the inspiration and perspiration — as well as the occasional hint of desperation — behind all creative acts.
    • Hundredweight

      Wood, John; Harrison, Paul (2003)
      “Hundredweight” is a 6 channel video installation of fixed-camera documentation of 2-D and 3-D events performed by the collaborating artists. It consists of 36 sections shown on 6 monitors. Building on previous work but directly addressing painting and drawing using a single fixed camera position. The construction of the work allows the viewer to watch all six screens of individual action simultaneously; but also to focus on individual actions. Using a single set with a fixed camera position allows a play between space (the architectural set) and time; all the actions take place in the same space but at different times. The overhead camera position flattens the three dimensional space reducing the architecture to a plan, emphasising the action’s relationship to painting and drawing. The 36 sections are subdivided into six groups, lighting, drawing, static, etc each one looking at a specific art historical or architectural element.
    • Notebook

      Wood, John; Harrison, Paul (2004)
      “Notebook” is presented as either a single or six channel video installation consisting of numerous manipulations of everyday objects by the collaborating artists. The work, consisting of 101 short sections, shot within a single, simple set (which can be read as an office space, laboratory, domestic kitchen etc) seeks to play with the ‘everyday’. Where architectural form often dictates physical activity the action depicted alters the reading of the physical space. Each action takes an everyday object and alters its function, slightly. The tabletop on which the actions occur becomes everything from an office desk to a landscape. It seeks to playfully look at how everyday objects can be re-invented and therefore re-examined. And how within sterile environments (the office, the factory, the gallery) elements of play exist.
    • other plans

      Harrison, Paul; Wood, John (Vera Cortes, 2017)
      Solo exhibition by Paul Harrison and John Wood at Vera Cortes gallery, Lisbon, Portugal
    • Twenty six (drawings and falling things)

      Wood, John; Harrison, Paul (2002)
      “Twenty six (drawings and falling things)”, is a multi-channel Video installation of dynamic material actions performed by the collaborating artists. The work investigates the relationship between the human figure and architecture, developed through short form video (20 seconds – 3 minutes), with particular emphasis on actions being formulated and resolved within a given duration. The 26 sections act as individual works, but also as a whole, allowing the viewer to read a linear development within each work or to make links between the individual sections. Each work holds an internal logic, action related to duration. Within this world (architectural space, the gallery space, the business office, the laboratory) action occurs, creating a tension between the environment and its inhabitant, a sense of play is revealed. Sources of the work are intentionally mixed – art history, slapstick humour, Open University instruction, drawing, science.