Adam Pugh

Category: 2017

Back to the Future Essay for Moving Image Arts, Plymouth University

Uncompromising, abstract, a vessel for time before space, the cinema is the perfect site for artists’ moving image, and artists’ moving image is the perfect subject for the cinema. That the two have become estranged from one another belies the myriad resonances which still exist, and are pertinent now, perhaps, more than ever. To secure […]

Time Being: the films of Barbara Sternberg Catalogue essay for 63rd Internationale Kurzfilmtage Oberhausen

Descartes was wrong. The decision to sing is the first note of the song. —R F Langley, Touchstone Existing in suspension, Barbara Sternberg’s work plumbs the fathoms that separate the conscious and unconscious, the abstract and representational. Neither surfacing nor sinking, the central tension in her films is that of an unfulfillable quest, stalking the […]

New Artist Focus: Adam Pugh on Lucy Parker LUX website, March 2017

It is relatively easy to distil the political to a cool academicism, to view it only via the lens of historiography or to abstract it as a subject for detached art-historical amusement; rather less so to tackle the here-and-now, here and now; to seek an art which acts. London-based filmmaker Lucy Parker began making work on 16mm: […]

A milligram of radium in the tranquil dark Exhibition text for 'Animate OPEN: Parts and Labour', November 2015

‘Reality precedes the voice that seeks it, but as the earth precedes the tree, but as the world precedes the human, but as the sea precedes the vision of the sea, life precedes love, the matter of the body precedes the body, and in turn language one day will have preceded the possession of silence.’ -Clarice […]