 Mae'n cael ei wneud am y ddechrau, mae'n gweithio â'r ffawr o'r cyfnodau o'r cyfnodau bod rhywbeth yr hyn yn y cyfnodau, o'r cyfnodau blwysglau ac ynafnodau. Mae'n criminalol i ddweud am y cilyddur yn y cyfnodau ac yn y cyfnodau'n cyfnodau yn y cyfnodau sy'n ddweud i'r ddechrau arnynno i'r wneud ac yn y cyfnodau'r cyfnodau gorau i'r ffawr yn y cyfnodau. A gyd yn y cyfnodau yma, y bydd yn amlwg y rydyn ni i gyd yn maen nhw'n gennym seafoodnyddiadol i ddylch yn ddigonwyd yn gweithio'r nog yw'r portwygion. A ymdawr o'r cyhoesfnodd, ac roedd y machst pan i gyd, yn clywgr ystafell o'r DUF frombent hon i ddechreu y ffraith yn cymdeithasol, oedd mae gennych. Rydych chi'n ddweud beth o'r portwygion yn ystafell o'r dmwyllon i ddimwyllol yw gyfathodd cynnig Ond, yn ymweld, os yw'n gwneud o bwysig i'w ddeithas i ddaf yn ddau o ddweithreit ar y mynd i ddweithreit ac mae'r ddweithreit y pethau o bwysig, o'r ddweithreit cyfraith, i gyfraith cyfraith, i'w ddweithreit a gwaith. Gweithio'r ddweithreit yw'r ddweithreit mewn gwwysig i ddweithreit, i gael i'w gweithreit i ddweithreit. I 1995 I started working with my mother and initially started out with really just the desire to make a couple of images with her which then turned into a rather epic body of work. It came initially out of the desire to make work with someone or to represent someone and in particular to represent a woman who by the sheer effect of growing older had grown in a sense beyond what is normally seen as a beautiful woman and had to in many ways become marginalised, had not placed any more within visualisation. And that sort of older woman to my mind immediately couldn't be just any woman, any model, someone that I could hire that I could have a sort of professional contractual relationship with. In some ways could only really be my mother, so I asked her and she agreed. The earlier series is a series of black and white photographs, they're very large images, photographed, large format and then transferred through a number of processes onto canvas and they are quite substantially bigger than you see them there. The way they're made that way is really to do with sort of desire to kind of position the work somewhere still adhering to notions of the photographic representation but also kind of making reference to painting, drawing and sculpture. In the series worked across what I said like it became quite as of epic body of work, started in 1995 and went right up to 1999 this particular set of work and worked across very intimate body studies, very tight images of fragments of her body to these pieces which are much more around a traditional notion of portraiture. And in the process of that she became more and more involved because it is kind of four years of working with someone, photographing them over and over and over. In the process she became much more involved in the sense it became a collaboration where she took much more responsibility for her own representation and for how she wanted to appear in these works. When this sort of black and white series felt like it was coming to a close it became a discussion between us whether that meant that our working together came to a close or whether there was something else that we wanted to explore. And that's when this particular series started with Blue Clouds and Laughter from which a series called Liminal Portrays and this is the very first in that series. Compared to the earlier pieces that were very much removed out there's no context, there's no environment, these are very much about also the context of these images being taken in. They're taken over the course of one year in all the places where my mother spends time regularly. So they're quite linked into her life and into the kind of spaces that make sense to her. They're all taken exactly where she appears to be, there's no digital manipulation and they do very much play with the whole notion of the sublime. So in each one of these images she is sort of pitched against landscapes, cityscapes that in some ways can be considered in a traditional sense as being sublime spaces. And again in that sort of reference to the sublime the work as much as it is clearly photographic makes reference to notions of painting that come through such people as the German Romantics Caspidavit Fridae in particular. And in relation to that sort of painting tradition what I wanted to do with these apart from a sort of continued exploration of portraitures to also kind of maybe bring a play between ideas around the sublime and objection. Meaning that sort of like the idea that this body, this naked body and this naked body that is sort of not supposed to be in these places is complicating our view of the landscapes or cityscapes behind. This is in fact the last image from the series and it sort of interestingly came full circle is exactly in the same place where the first image from that series was taken. And by that time we'd been making work together probably for about six years and there was never sort of any sort of conversational discussion about how long this collaboration would continue. It was more that at that very point when we took this image it was almost like we looked at each other and knew that we'd sort of completed what we wanted to do. I will take sort of quite a big leap forward now. Actually this is what I want to show another aspect of the work that might in so future presentation of the work resurface that as much as the work is made for galleries, for interior spaces, for museums. Quite often I've taken particular images like this one and in fact the one that's here in the gallery as well and repositioned them within the public arena as posters, as billboards, as of large outdoor works. Which sort of shifts the debate around them quite considerably particularly throughout the 90s when the whole debate around body politics and the representation of women was still at a slightly different place from where it is now. The next series I briefly want to show you is a much more recent piece of work but again one where I ended up working with women exclusively which is called Moscow Girls and it's an installation piece that consists of photographs and sound pieces. There's nine portraits which are shown around the gallery wall which are in a sense in direct relationship to set of nine stories. It's a long involvement with these people but basically I spent about three years from 2001 to 2004 travelling to Russia and making work there that involves or ended up being three different video pieces as well as two photographic pieces and this was the piece that really set the whole process of working in Russia in motion. I became fascinated through a number of different encounters with instances of implications of a country going from communism to capitalism. In a sense through a series of processes, Glasnost and Perestroika but suddenly from the first of January 1991 it became a full fledged capitalist country and the implications for a lot of people were quite drastic. Partly what I was interested in is not so much just the economic implications but much more the psychological implications of a country sort of behaving quite chaotically and in a sense throwing out all these previous structures and almost wholeheartedly accepting another set of structures. I love working with a series of women who were all teenagers in 1991 and experiences of sudden shift in really extreme ways. They are portraits of these young women that are taken very much in collaboration with them in the sense that they decide where they're taken, they decide how they want to appear, they decide in the sense of kind of like how they want to be represented within these images and that is quite important because these young women have an extreme sense of their own appearance. They're very much aware of their physicality, they're very much aware of their presentation, of their exterior, of their surface and of their materiality which I think is a direct effect of having experienced that shift from communism to capitalism at a very significant point in their own life when they were teenagers but they're also beyond that sort of extreme desire for their own presentation, have extraordinary stories. It's likely to play any of the stories but basically they're all stories that range from them all in the sense waiting for the prince to come along on a white horse and sweep them away into this happiness forever after and in the process of searching for these particular moments, these modern day fairytales, they experience enormous amount of deprivation, violence and misfortune and their stories are in a sense the story of a generation, of a generation of young women and the way they're presented is that the nine stories in the centre of the room are not directly associated with any one portrait so you listen to the stories, you see these images, in a sense it's left up to you as a viewer to put these together and to kind of develop your own sense of how these stories and these in a sense protagonists might fit so that's in a sense you get these stories in the centre, you listen to them on these little pots like little headphone pots and you can see the images around you and it's sort of what tends to happen that people listen to some story and they're all in original voice in Russian and then that's how it's synchronised by Russian actresses. What I wanted to come to is to show you a couple of video pieces that have just completed which again there was notions of beauty and a sort of desire for beauty in particular people and in a sense was interestingly until that point even with Moscow girls I'd always worked with women, not that I ever set out to do that, not that I ever thought I can only work with women but in some ways it felt like they were the people I could talk about and talk with until I came to make this particular piece which is a piece called security which is made with seven men on the island of Ibiza and they're all security men and I will show you a video piece. I travelled to Ibiza in 2004 and became interested in how these particular men represented images of power, strength, virility and there were guarding doors that people were flogging to try and gain access through and to experience a moment of hedonism and fun and these men in some ways were sort of there to both make sure that that experience could be secure and could in fact happen without any danger but also to kind of create a particular image of what that club might be. I went to these clubs and asked each of these bouncers whether they would work with me, come to the club where they work at night and stand in front of the door that they're sort of kind of protect at night, wear exactly what they wear at night and then take their clothes off, strip, stand for a moment and put their clothes back on. The way the work is presented as you saw in the slide before this video started is as a series of seven small monitors, they're very small flat monitors in which these guys just stand endlessly like they do at night, they stand in a sense of holding their space which is in that case that little monitor and then you sort of tend to, there's some different configurations tend to walk into the next room or around the wall and then look at them going through some motions of taking their clothes off and putting them back on. In each case what I became quite interested in is both these men amongst other things spending enormous amount of time sculpting their body so it is also this sort of reference to this real attention of working a body, chiseling it, making it into something that they think is the perfect image of beauty for themselves but then also in the process of taking off their clothes of actually showing off this body that they clearly make and that they spend a lot of time on. They become incredibly individual, variously nervous, tense, sometimes proud but also in that sort of whole process of taking off your clothes for the camera is quite complicated, it's really quite difficult to do and they each do it very individually, very differently and in these sort of small gestures in exactly whether you take off your t-shirt first or your trousers, where you keep your socks on, where you keep your sunglasses on, all these sorts of differences is exactly where I think the moment of portraiture happens. That's where in a sense from the earlier work like even the work of my mother to these, on the one hand there are some things that run right through the work, I always think of them as being in some ways moments of collaboration where I interact and work with these people and there's a real sense of exchange and quite often they take quite long, there's a real sense of us working together on these. With these particular pieces and the next video piece I'll show you another minute or two of, there's more of a sort of performative strategy that takes place where I think in a sense my position has changed where I interact with them in slightly different ways and I give them a set of instructions, I ask them to go through a sort of scenario or a particular gesture or a series of actions and then I sort of leave them to it. In a lot of the cases with these bounces I actually go away and actually set up the camera, they're ready to go and I go so that they don't actually interact with me, they interact with the camera. And the second piece I want to show you is a piece called Shave which was just completed and is currently unsure with the gallery in Germany where I work with someone who I've known for a fair long time, he's in fact an American curator and was the first to curate the work of my mother in this country. And through a series of conversations he's explained more and more why he was involved in the work of my mother and interested in showing it which had a lot to do with his own sort of body concerns that he felt the way he looked was quite separate from how he is as a person, as an intellectual being. And I made a piece of work with him where over the course of 75 minutes a camera circulates around him continually, very vitristically, and he's being wet shaved from head to his waist. And I'll show you very briefly, this is an installation image of it and it's installed as a projection and a monitor piece and you just get a bit of a sense of how the piece works. So he's quite a strong looking man but less hair on his head than he used to but more and more on his body and that sort of gradually gets removed. And then there's a monitor which you see in the front where completely in sync the barber occasionally rinses out the knife, the shaving knife. And again, like with the bouncers in some ways, what I'm interested in is kind of a concern with as well as an image of beauty, but also again there's a real sense of sculpting, of drawing going on. The way the barber treats this body is really about sort of like putting on lines, erasing in a sense lines of the body. And he sort of almost like circulates around this body like a sculptor would circulate around his work to be. But there's also sort of, I suppose what I'm always interested in, all these sort of pieces, whether it's Moscow girls, the bouncers, this piece, also various pieces that are in between these are these sort of moments of transformation that quite often are condensed into particular gestures. With this particular piece what became, it's almost like he set up a particular scenario and I didn't actually know exactly how it would work. And once the camera goes and once the sort of particular situation is in motion there's also no stopping. And you can kind of, I mean you could possibly repeat it but it would be a little difficult and you'd have to wait for quite a long time. So once this whole piece is in motion you don't quite know what it would look like. And what was interesting is that his body clearly transformed in a number of different ways, his skin became quite raw, these marks on his body. But also as the camera travels around him this very male body also starts to become quite variously female and much more vulnerable. So that's the end of my talk, thank you very much.