Two-channel HDV, and photographic installation


When the industrial revolution took hold of Britain society was hurled into a new domain of uncertainty, inspiring governments to search for a new set of principles by which to guide public and private decency; “Honesty is the best policy”, “Labour omnia vincit”, “Auspicius melioris aevi”. There was one statement though, which in its brevity would proliferate town halls across Britain and act as a denominator to the rest; deinceps.


Deinceps [“Forward”] signalled both planks on which life wisdom and life strategy rested: first, the recognition that one could not, would be allowed to, rest still. The second – that once on the move, one would and should know very well where one was going. One knew the directions; one knew, which move was forward, which was backward. - Zygmunt Bauman.


With Zygmunt Bauman rattling in my ear, I drove North.

The car, a 2013 Nissan Pulsar from Hobart City Commercials. The purpose, to empty the tank of fuel and document the location at which it came to a halt.


In this work, Deinceps propels Tasmanian commerce into the heart of the Victorian countryside; melding car sales and cheap marketing with barren landscapes and futile gestures. It seeks to bring forth and capture the tension between consumer culture and our existential condition, and to disrupt and challenge the societal aphorism of ‘progress’.


Deinceps embodies effort and expense to construct a shrine to futility.