The Living Stone, 2019

A digital poetry installation across three of the former homes of Dorothy and William Wordsworth, The Living Stone reflects on the different ways in which language shapes experiences of the Lake District. Visitors to Dove Cottage, Allan Bank and Rydal Mount can search for bird names engraved on slates and message them to 07858 382728 to receive poems relating to each site. The poems combine material from the Wordsworths’ notebooks with the words of fell runners, notices to airmen, weather forecasts, and the hum of social media to investigate the connections between writing and place.

The Living Stone was created with technologists from the Centre for Advanced Spatial Analysis, UCL, in partnership with Lancaster University, the Wordsworth Trust, the National Trust and Rydal Mount. It was possible thanks to funding from PETRAS and the EPSRC. Text messages are charged at standard network rates.

(installation views, photographs courtesy Duncan Hay)

The Listening Wood, 2019

The Listening Wood is a site-specific installation and digital poetic walk around fourteen of Hampstead Heath’s ancient and veteran trees. Visitors to Golders Hill Park are able to interact with the work via either sms or thelisteningwood.com to generate a poetic record of their encounter with the trees, recalling the Romantic tradition of the Heath.

The Listening Wood is the result of a collaboration with computer scientists from Bartlett Centre for Advanced Spatial Analysis, UCL, and the City of London Corporation arborists. It was possible thanks to funding from PETRAS and the EPSRC. Text messages are charged at standard network rates.

Ghost Note, 2018

The cross that marks the border between Esztergom, Hungary and Štúrovo, Slovakia can be read in the classical convention of music notation as a ghost note, that is, a percussive note with no discernible pitch. For this project, musicians in both towns and internationally interpreted the found score, with their responses integrated into an audio loop.

Ghost note was created and exhibited as part of an arts residency as the 43rd Bridge Guard between April-June 2018, supported by the Štúrovo Cultural Association. Giclée print and looped audio, dimensions 119 cm x 84 cm, duration 07’34”.

Domestic Folly (while you were sleeping), 2018

A series conceived and created in snatched moments following the birth of my second child. This recording is the result of a collaboration with sound engineer and musician, Nick Trepka, duration 2’12”.

Rise, 2017

A vocal interpretation of found sea-level data, performed at Roaming Room, London by Sandy Grierson, Leah Lovett and Naomi Siderfin. Duration 4’09”.

(performance stills)

Contracorrente / Upstream, 2016

A telenovela (Brazilian soap opera) based on Herbert Read’s political sci-fi, ‘The Green Child’ (1935), played out between actors in London and Rio de Janeiro against the backdrop of London’s Olympic landscape using blue-screen technology. All three episodes were performed before studio audiences on board the Floating Cinema (London) and at CASA 24 (Rio de Janeiro), and live streamed via UP Projects’ website on 30th July, 2016. Contracorrente / Upstream was conceived by Leah Lovett and created by Leah Lovett and Maria Eugenia Lombardini in partnership with UP Projects and Foundation for Future London with performers Freddie King, Raphael dos Santos, and Farelis Silva (Rio de Janeiro) Rocio Galan, Tessa Parr, and Rafael Pereira (London). Running duration (3 episodes), approx. 60’00”.

(performance stills, photographs courtesy UP Projects and Foundation for Future London)

Project Platform, 2016

A live set and audio recording of experimental music and sound inspired by Crossrail. Five Newham-based artists and musicians each responded to one leg of the train journey from Liverpool Street – Ilford. In journey order, they were Lindsay West & James Russo, -hyfn, Rob DesRoches & Stew Simpson, Sally Labern and Paddy Conn. The first live set with the Project Platform band (Grace Banks, Alain Man and Prithpal Singh) took place at Coffee7, Forest Gate, on 22 September, 2016. The recording sound engineer was Nick Trepka. Project Platform was conceived and coordinated by Lloyd Jeans and Leah Lovett with support from Newham Council, MTR-Crossrail and the Estate of Mary Eileen Jeans. Performance duration approx. 20 minutes.

(performance stills, photographs courtesy Andrew Baker)

Light Transmission, 2015

A light installation featuring songs about light from the British Isles, broadcast on 87.9FM. Light Transmission was commissioned by Wellcome Collection with UCL for Bloomsbury Festival 2015 Radio equipment supplied by RPL Radio. Sound engineering by Nick Trepka. Dimensions variable, programme duration 1’16″05.

(installation views, photographs courtesy Wellcome Collection)

An Installation on Sex: 33, 2015 (with Julie Carr)

“Everything appears for others eyes” emblazoned in neon across the far wall. An animal is eating out of vision’s range. The walls look wet when the light hits them.

The light is coming from you.

An Installation on Sex: 33 from Leah Lovett on Vimeo.
Text: Julie Carr; Video: Leah Lovett

Contra Band, 2014

A performance that brought together musicians and audiences in Brazil and the UK for an experimental live performance of songs censored in both countries between 1964-1985. These dates mark the duration of the military dictatorship in Brazil. The music performed included songs by the Beatles, Chico Buarque, Frankie Goes to Hollywood, Gilberto Gil, the Sex Pistols, Caetano Veloso and more. Contra Band was commissioned by UP Projects, Somewhere and Live Art Development Agency for the Floating Cinema 2014 Extra-International programme, London, and Casa 24, Rio de Janeiro. Duration 60’00”.

(performers: Nicholas Underwood and Raphael dos Santos, photographs: Nina Pope)

Sock Puppet State, 2014

A performance workshop exploring political representation and modes of speech through near ventriloquism. Created for Flaming Skirt Festival, Derbyshire, duration 50’00”.

(workshop participant, photograph: Stella Francis)

Support, 2014

A chorus of male voices reenacts the sounds of women in the late stages of labour as recalled by their birthing partners, performance duration 8’00” approx (excerpts 4’00”).

(performance still, photograph courtesy Ludovic des Cognets/SMASH LAB)

Feedback, 2013

Video loop for iPad using found footage, created for A Small Hiccup at Newbridge Project Space, duration 2’19”.

Murmuration, 2013

Performance and limited edition print for performers, commissioned for A Small Hiccup at Grand Union, Birmingham and touring.

A group makes a loop from a gallery space, through the city, a shopping centre, the Bullring, an industrial park, and back again. We move at arms’-length from one another, and from others who move through the group. We clap. When one rhythm connects we listen, still clapping, for a different rhythm to take hold.

I am surprised by how many join in. A driver hoots his horn. A swagger of twenty-something men up for a Friday night jeer, “YOU’RE ALL A BUNCH OF WANKERS”, then clap. They laugh. We laugh. A couple at the traffic lights joins the group for as long as our routes coincide. Others don’t appear to notice us at all. A man smiles and, bringing hands together, sets us off on a different beat. A police car tacks alongside. Then, for a moment, looking up, birds flock directly overhead.

(installation view, photograph: Patrick Dandy and Grand Union)
(performance still, photograph: Patrick Dandy and Grand Union)

This drawing (will change everything), 2012

Daily drawing on OHP responding to the World at One, the exhibition space and the artist’s imagination. Performed for Making Space, Woburn Research Centre, duration 45 minutes daily (Monday – Friday).

(performance still, photograph: Veronica Vossen-Wood)

Operation Goose Down, 2012

Performance and combative game. Three camouflaged agents draw salt boundaries on a gallery floor, gradually claiming as much space as possible, then sweep up and redraw their territory whenever a member of the audience crosses the boundary-line. Created by TRIPOD for Platform 1 at Camden Art Centre, duration variable.

(performance still)

Ghost in the Machine, 2011

Performance created by TRIPOD (an ongoing collaboration with Katy Beinart and Helen Rawling) for Surplus to Requirements?, duration variable.

(performance stills, photographs: Thomas Jenkins)

Sounding, 2011

The result of a collaboration with Teign Diving Centre, this project comprises audio from a hydrophonic (underwater microphone) recording of the 1918 shipwrecked Bretagne; wall-text echoing stories from contemporary divers drawn to the site; and series of ink, pencil and beeswax drawings inspired by the Greco-Roman myth of the Sirens. Commissioned for A Cirlcle, Plymouth, 2011.

(installation view)

Anthony Rowe, Untitled, 2010

A video made with footage and images found on a mobile phone which was stolen and subsequently recovered by the police, projected dimensions variable, duration 02’58”.

Anthony Rowe, Untitled, 2010 from Leah Lovett on Vimeo.

Conversation Piece, 2010

Two unidentified performers initiated scripted conversations with unsuspecting audience members for the opening of the Intervention Gallery, Kensal Green Cemetery.

(performance still, photograph: Adam J Brown)
(card)

Day of Celebration, Site of Protest, 2010

A series of 13 prints documenting the 12-hour occupation of a politically symbolic space in Seoul on a national holiday.

Pinned Landscape, 2010

Performance to camera in which the artist gifts iron rods to new corporate and commercial buildings in Mullae, Seoul. Single channel HD video, dimensions variable, duration 04’19”.

(stills)

There Were Conflicting Versions, 2009

Performance of found protest images with James Canvin, Deborah Klayman, Tina Meegan, Patsy Prince and Herbert Wright, duration 20’00” approx. Created for Testing Grounds at South Hill Park.

(photograph: Orion Maxted)

Filter, 2009

Performance in which an actor relays news feeds streamed from Reuters’ UK website whilst drinking from a selection of Three Barrels brandy, Gordons gin, Smirnoff vodka and Famous Grouse whiskey, duration variable.

(performer: Sandy Grierson, photograph: Sarah Pickering)
(performer: Catherine Adams, photograph: Sarah Pickering)

Mouthpiece, 2009

Single channel video, duration 00’51”.

Open Eye, 2008-9

Single channel video, duration 19’17”.

(03’36” extract)

Just the Space, Just the Light 2008-2009

3-channel HD video installation filmed at night until the security guard responded or the 60 minute tape ran out, projected dimensions variable, duration 60’00”.

(stills)

Catherine Day, 2008

Performance of a woman, played by 36 women, waiting on a platform. The character is based on the woman depicted by Paul Day in his monumental sculpture, The Meeting Place, commissioned for the reopening of St. Pancras above. Duration 12 hours, performed in 20 minute intervals.

(performance still)

Conducting, 2008

Carousel of 35mm slides changed at approximately 3 second intervals by the gallery attendant, projected dimensions variable, duration 02’30” approx.

(installation view)

Audition Piece (Dead Cowboy), 2008

Sculpture, costume, performance in which a number of actors play dead whilst rocking the barrel from side to side, dimensions 1300x1000x1200mm approx., duration variable.

(installation view)
(costume detail)
(performance still)

Covert Collaborations (Signer), 2008

Photocopied letter, photocopied drawing, inkjet print, individual dimensions 210x297mm.

(click to enlarge)

Their Actions However Intended, 2008

Script, performance for two actors who follow all of the unspoken text from Samuel Beckett’s Waiting for Godot and Lluisa Cunille’s The Meeting, each one directing and directed by the other, duration variable.

(poster)
(script extract – click to enlarge)

Kilty Toga, 2007

Single channel video, duration 00’37”.

Pallas’ Socks, 2008

Wool, inkjet print, dimensions variable.

Jumpers, 2007

Knitted costume for three performers, dimensions variable.

Pillar to Post, 2009

Costume, four columns, performance, dimensions variable, duration variable.

Street Theatre, 2006

6-channel sound installation, duration 8’07”.

(installation view)
Audio – Craig
Audio – Bibi
Audio – Petra
Audio – Rachel
Audio – Sandy

Quadrille, 2006

(00’48 extract)