TV Babies are four artists who work integrating film and live performance in staged landscapes. They are Bink Bulthaweenan , Freya Wysocki, Charlotte Simmons, & Jenny Hanns.
"Our concepts are not constrained by set themes yet we often consider the challenges faced by digital bombardment, privatised public space, and our image as currency. We work both collaboratively as TV Babies and individually."
For their Convenience Gallery show, their installation turned our Market unit into an immersive projection space. With 4 film playing in round. The transformation of the space allowed Gallery Visitors and Market shoppers alike to step into the space and view the film.
I am a girl who once wanted to be a boy, and now I am embracing what I once was ashamed of. This self-mockumentary film presents snippet of stories that makes me a girl, a girl with insecurity, traumatic experience, with a family problem, a girl that grows, a girl had hopes and dreams, a girl that changes mind - A Real Girl. 8.25mins
Prawn in Cheek is a shifting and changing moving image between Thailand and England. Contrasting the differences with narratives of my stories-telling that reflects on my upbringing between the two places and culture. 17.30mins
"A short film piece, forming the second part of The Plantain Man series. Chiemsee was filmed on location, using actors to depict ideas of migration and merging cultures - following ideas explored in the first instalment based in The Englischer Garten. Chiemsee brings the Caribbean cultural icon of the plantain, and transports it to a highly Bavarian and traditional context, the actors immerse themselves in their surroundings and bring a new understanding to the plantain. Inspired by the Triadisches Ballett and dance piece Still Life at the Penguin Cafe; Chiemsee continues ideas of our interactions with surroundings, exploring cultural roots and opening up discussions of our relationships with cultural iconography"
To become a Slug,
"Nature is a loaded term. It originates in conquering, of a supposedly uninhabited space to claim. Something external to human, something other. Now it seems loaded with naivety, wistfulness, with a faint air of nostalgia. A cringe settles in my chest when I consider that my work is an ode to 'nature' in the Pre-Raphalite sublime sense of the word. I am much more comfortable theorising that spot popping videos have the capacity to bring us comfort in our human orientated way of being reminding us of motifs that run through the natural realm. Because as much as the digital feeds the dislocation, it could be subliminally reminding us how to groom and nurture, to maintain those instincts. In the most delightfully moreish 'up next' Netflix kind of way. By being drawn to watch these videos are we subconsciously trying to reconnect with nature in a less romantic way by up/un/re loading it into the digital, into a format we can understand? Are we saving ourselves whilst just trying to cope?"