the zeppelin bend










critical context


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The work contained within this section (practice) is created from a point of departure within the archive**. As an author seemingly random archive pages are

selected, the subject of which is then reserached using search engines. This ultimately finds information (lists) images and text which are used in the creation of

separate satellite works. These satellite works exist simutaneously as separate work and works within the archive. They also possess potentiality for continual

associations. 'Whatever the starting point, the matter in hand spreads out and out, encompassing ever vaster horizons, and if it were permitted to go on further

and further in every direction, it would end by embracing the entire universe' (Calvino 1998, p. 107)


'Stansbie uses the web of terms and connections in her archive as a starting point for the creation of ‘satellite’ works, which then become enmeshed within

its structure and generate further connective branches. When removed from the context of the archive however, these filmic narratives function as an

index to Stansbie’s wider practice, revealing a common theme of connections, collections, deliveries and journeys' (Parlane 2008)


** Arcade Games (2006) has no initial starting point from within the archive but is an early experiment with the notion of utilising search engine generated results

to investigate immaterial and material art practice. The film Odoo (2007) likewise interogates the use of associative search engine threads via film.



Calvino, I. (1998) Six Memos for The Next Millenium. New York, Vintage.

Parlane, A. (2008) The (Dis)Order of Things: The Work of Lisa Stansbie



the works >>>>>>