Craig Redshift-Millar

I use the mediums of photography, film and sound to investigate signal processes, significations and the mutability of language. My practice explores the liminal state between novelty and concrescence, where all things are possible but only some undergo the formality of actual occurrence, or becoming.
Often using raw information as my primary working material, I explore the transmutation of information flow between states via experimentation with aleatoric processes and meticulously planned interventions. Often using methods derived from archaic systems of organised information to guide these interventions, my work can be considered an exploration of atemporality, the philosophical absurd and an inexorable drift towards entropy.
My film and sound practice has latterly gravitated towards an examination of the dissemination and aggregation of multiple streams of information into constructed narratives, the falsity of memory and ideas of temporal compression and resonance.
My visual practice carefully erects, and then collapses, layer upon layer of simulacra whilst simultaneously inverting cultural semiotics, often blatantly so, to suggest the concept of the unreliable narrator and thus question notions of authenticity and individuality.
My practice is concerned with language, the power of repetition and the beauty of pure experimentation, often via malfunctioning technology.

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