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Artist Catalogue NOBODY, NOWHERE THE LAST MAN (1805) THE END OF THE WORLD (1916) END OF THE WORLD (1931) DELUGE (1933) THINGS TO COME (1936) PEACE ON EARTH (1939) FIVE (1951) WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) ROBOT MONSTER (1953) DAY THE WORLD ENDED (1955) KISS ME DEADLY (1955) FORBIDDEN PLANET (1956) INVASION OF THE BODY SNATCHERS (1956) WORLD WITHOUT END (1956) THE LOST MISSILE (1958) ON THE BEACH (1959) THE WORLD, THE FLESH AND THE DEVIL (1959) THE GIANT BEHEMOTH (1959) THE TIME MACHINE (1960) BEYOND THE TIME BAR- RIER (1960) LAST WOMAN ON EARTH (1960) BATTLE OF THE WORLDS (1961) THE LAST WAR (1961) THE DAY THE EARTH CAUGHT FIRE (1961) THE DAY OF THE TRIFFIDS (1962) LA JETÉE (1962) PAN- IC IN YEAR ZERO! (1962) THE CREATION OF THE HUMANOIDS (1962) THIS IS NOT A TEST (1962) LA JETÉE (1963) FAIL-SAFE (1964) WHAT IS LIFE? THE TIME TRAVELERS (1964) THE LAST MAN ON EARTH (1964) DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) THE DAY THE EARTH CAUGHT FIRE (1964) CRACK IN THE WORLD (1965) DALEKS – INVASION EARTH: 2150 A.D. (1966) THE WAR GAME (1965) IN THE YEAR 2889 (1967) LATE AUGUST AT THE HOTEL OZONE (1967) NIGHT OF THE LIVING DEAD (1968) PLANET OF THE APES (1968) THE BED-SITTING ROOM (1969) THE SEED OF MAN (1969) COLOSSUS: THE FORBIN PROJECT (1970) BE- NEATH THE PLANET OF THE APES (1970) NO BLADE OF GRASS (1970) GAS-S-S-S (1970) THE ANDROM- EDA STRAIN (1971) THE OMEGA MAN (1971) GLEN AND RANDA (1971) ESCAPE FROM THE PLANET OF THE APES (1971) SILENT RUNNING (1972) DO WE HAVE FREE WILL? BEWARE! THE BLOB (1972) CONQUEST OF THE PLANET OF THE APES (1972) A DISTANT THUNDER (1972) A THIEF IN THE NIGHT (1972) THE FINAL PROGRAMME (THE LAST DAYS OF MAN ON EARTH)(1973) IDAHO TRANS- FER (1973) GENESIS II (1973) BATTLE FOR THE PLANET OF THE APES (1973) SOYLENT GREEN (1973) PHASE IV (1974) ZARDOZ (1974) PLANET EARTH (1974) WHERE HAVE ALL THE PEOPLE GONE? (1974) THE THIRD CRY (1974) PROPHECIES OF NOSTRADAMUS (1974) DAWN OF THE DEAD (1974) BLACK MOON (1975) BLACK MOON (1975) THE NOAH (1975) THE ULTIMATE WARRIOR (1975) A BOY AND HIS DOG (1975) LOGAN'S RUN (1976) THE LATE, GREAT PLANET EARTH (1976) THE PEOPLE WHO OWN THE DARK (1976) END OF THE WORLD (1977) DAMNATION ALLEY (1977) THE LAST WAVE (1977) HOLOCAUST 2000 (1977) WIZARDS (1977) DAWN OF THE DEAD (1978) A DISTANT THUNDER (1978) INVASION OF THE BODY SNATCHERS (1978) DEATHSPORT (1978) QUINTET (1979) THE SHAPE OF THINGS TO COME (1979) RAVAGERS (1979) STALKER (1979) MAD MAX (1979) INDUCED SYN- DROME (1979) PLAGUE (1979) METEOR (1979) THE APPLE (1980) VIRUS (1980) FLASH GORDON (1980) THE MARTIAN CHRONICLES (1980) PHOENIX 2772 (1980) MAD MAX 2 (THE ROAD WARRIOR) (1981) MALEVIL (1981) ESCAPE FROM NEW YORK (1981) IMAGE OF THE BEAST (1981) BATTLETRUCK (1982) THE THING (1982) WORLD WAR III (1982) WHAT IS CONSCIOUSNESS? BLADE RUNNER (1982) THE AF- TERMATH (1982) HUMAN HIGHWAY (1982) SHE (1982) WARRIORS OF THE WASTELAND (1982) CAFÉ FLESH (1982) ENDGAME (1983) LE DERNIER COMBAT (1983) TESTAMENT (1983) THE PRODIGAL PLAN- ET (1983) EXTERMINATORS OF THE YEAR 3000 (1983) THE LAST BATTLE (1983) EXTERMINATORS OF THE YEAR 3000 (1983) THE DAY AFTER (1983) STRYKER (1983) 2019, AFTER THE FALL OF NEW YORK (1983) TESTAMENT (1983) WARRIOR OF THE LOST WORLD (1983) YOR, THE HUNTER FROM THE FUTURE (1983) THE TERMINATOR (1984) WHEN THE WIND BLOWS (1984) THREADS (1984) THE NOAH’S ARK PRINCIPLE (1984) NIGHT OF THE COMET (1984) NAUSICAÄ OF THE VALLEY OF THE WIND (1984) NAUSICAÄ OF THE VALLEY OF THE WIND (1984) WHEN THE WIND BLOWS (1984) DARK ENEMY (1984) THREADS (1984) MAD MAX BEYOND THUNDERDOME (1985) THE QUIET EARTH (1985) CITY LIMITS (1985) RADIOACTIVE DREAMS (1985) STARCHASER: THE LEGEND OF ORIN (1985) DAY OF THE DEAD (1985) DEF-CON 4 (1985) AMERICA 3000 (1986) FIST OF THE NORTH STAR (1986) DEAD MAN'S LETTERS (1986) THE SACRIFICE (1986) DEAD MAN’S LETTERS (1986) SOLARBABIES (1986) RO- BOT HOLOCAUST (1986) FIST OF THE NORTH STAR (1986) LAND OF DOOM (1986) WHOOPS APOC- ALYPSE (1986) CHERRY 2000 (1987) CREEPOZOIDS (1987) URBAN WARRIORS (1987) INTERZONE (1987) DEATH RUN (1987) STEEL DAWN (1987) SOLAR WARRIORS (1987) AKIRA (1988) WORLD GONE WILD (1988) EMPIRE OF ASH (1988) HELL COMES TO FROGTOWN (1988) THE SEVENTH SIGN (1988) MIRACLE MILE (1988) SHE-WOLVES OF THE WASTELAND (1988) THE BLOOD OF HEROES (THE SA- LUTE OF THE JUGGER) (1989) BUNKER PALACE HÔTEL (1989) OMEGA COP (1989) ROBOT JOX (1989) CYBORG (1989) MILLENNIUM (1989) WILL WE EVER HAVE A THEORY OF EVERYTHING? VISITOR TO A MUSEUM (1989) SLIPSTREAM (1989) GUNHED (1989) MOONTRAP (1989) A VISITOR TO THE MUSEUM (1989) THE HANDMAID’S TALE (1990) HARDWARE (1990) A WIND NAMED AMNESIA (1990) SOLAR CRISIS (1990) CIRCUITRY MAN (1990) BY DAWN'S EARLY LIGHT (1990) DELICATESSEN (1991) UNTIL THE END OF THE WORLD (1991) TERMINATOR 2: JUDGMENT DAY (1991) NEON CITY (1991) THE RAPTURE (1991) MINDWARP (1992) SPLIT SECOND (1992) CYBORG 2 (1993) SUPERNAT- URAL (1993) BODY SNATCHERS (1993) DEMOLITION MAN (1993) ROBOT WARS (1993) PLUGHEAD DIANA VIVES REWIRED: CIRCUITRY MAN II (1994) IN THE MOUTH OF MADNESS (1994) WITHOUT WARN- ING (1994) THE STAND (1994) TANK GIRL (1995) WATERWORLD (1995) SCREAMERS (1995) 12 MON- 2020 (PGDIP) KEYS (1995) JUDGE DREDD (1995) SENTINEL 2099 (1995) THE PROPHECY (1995) THE ARRIVAL (1996) MICHAELIS SCHOOL OF FINE ART 3 Introduction Works: 7 Second Nature 11 Eden Road 15 Nobody, Nowhere 17 The Navel-Gazers 19 The Duellists 22 What-goes-without-saying 24 Everything, and Everything Else 29 Objections 31 All Our Yesterdays — The Ends (Inside Cover) 40 Endnotes MY THANKS TO - Douglas, for all the keys. And the gift of time. Jane Alexander, for firm and gentle guidance. Ben Orkin, for parallel play and sounding boards. Zoe, for her love and encouragement. These sculptures, produced in the extraordinary year 2020, address situations which hold some meaning for me. They explore human follies, including our relationship to nature – both as the environment we subjugate, and the superset of which we are a finite part. Often placed in states of suspended motion that negotiate with gravity, they suggest rhythms of imbalance, displacement and emergence. In the following pages, each of my works is presented alongside material and historical references. I am a capitalist who is troubled by the continuous growth of overproduction, overcon - sumption, depletion of resources and excess waste creation that is inscribed in capital - ism. The inevitable outcome of which will be to consume our own, partially recycled waste products. Arguably, art is a bad way of addressing sustainability, if one considers the cost and the environmental chain of consequences in producing much of it. But all that would remain of this exhibition, and which hadn’t been subsumed by the environment, are bronze statuary fragments and clay bases that could be assigned to other millennia, as well as a few steel pins and a sheet of lead. While the materials I use aren’t ‘precious’ – being mostly salvaged – they are rich in natural or functional properties, imprints of human action, cultural associations and connotations. El Anatsui (2013) says: ‘If you work with what is around you, the cost of the work is different from the value of the work.’1 By becoming art, they are welcomed back into the same econ- omy that discarded them, recalling the clashes of natural beauty and human aesthetics. I seek a quality for my work that considers art an open language, which I speak neither from a position of identity, nor against that of others. In this, I generally defer to Alain Ba - diou’s view that contemporary art should abstract itself from all particularity, including a specific public or audience. 2 The exhibition takes its title from one of my works which ties the materials and themes of the sculptures together and is also a self-portrait of sorts. ‘Nobody, Nowhere’ is a column of rammed earth about my height but almost five times my weight, bound in leather string and capped by a wood spool. As an allegory, it spans the history of land ownership from historical incursions, to its legal foundations, culminating in current-day encroachments and erosions of private property, both in land and body. As an effigy, it stands for my self-contained and rootless individuality, lost lands and impossible dreams. Over the last five generations, no woman in my family has known the certitude of a motherland. Root - ed in six different nationalities, we have moved countries seven times, replacing mother tongues with borrowed languages, and raised children in houses that didn’t have the Eden Road (Detail) 6 INTRODUCTION 7 time to become homes. Brimming with individual and collective myths/memories, we are émigrés everywhere. In lieu of identity, there is a sense of belonging to places of non-be - longing, awareness of communalities and desires for ‘another way’ that gives form to my secular spirituality, my life, and now my work. Perhaps it is due to this peripatetic life that I relate to the passante, the female equiva- lent of Charles Baudelaire’s flaneur3: the observer who wanders through the spaces of modern life with an acquisitive eye, an archetypal modernist explorer, and ‘whose aim is to derive “the eternal from the transitory” and to see the “poetic in the historic.”’(Walter Sugimoto, H. 1990. ‘ XXXX’ Benjamin, 2002)4 I think of my materials as keys to locks I didn’t know existed. In this exhibition, I have worked wood, stone, metal (cast bronze and forged steel) and fired clay, as well as ex - ercising some of the freedom with materials and process which came with Modernism Sugimoto, H.
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