Chris Meigh-Andrews

From Wikipedia, the free encyclopedia

Chris Meigh-Andrews was born in Essex, England in 1952.

Meigh-Andrews spent his childhood and early years in Montreal Canada, returning to the UK to study in 1975. He studied film and television and the London College of Printing (1976-79), did his Master’s degree in Fine Art at Goldsmith’s (1981-83) and completed a practice-based PhD at the Royal college of Art in 2001.

Initially working with photography and film, he decided in the late 1970’s to concentrate on developing his ideas through video within a fine art context and his single channel videotapes were screened in festivals, events and exhibitions internationally during the 1980’s. Establishing an artist's post-production facility and independent video production company in 1980, he worked as a freelance director and cameraman, video editor, and animator to fund his experimental video work throughout the 1980's. An active member of London Video Arts from 1980, he was chairman of the Council of Management 1987-89.

Since 1990, Meigh-Andrews has specialised in sculptural and projection video installations, including commissioned and site-specific works which have been shown in the UK, Europe and Canada. He has been Resident Artist in Electronic Imaging at Oxford Brookes University (1994), Artist in Residence at the Saw Contemporary Arts Centre in Ottawa, Canada (1994), Video Artist in Residence at Middlesbrough Gallery, Cleveland (1995), Video Artist in Residence at the Prema Arts Centre in Gloucestershire (1995) and Arts Council of England International Artist Fellow, at Bunkier Sztuki, in Krakow, Poland (2003-04).

Recent work includes Mind’s Eye (1997) a 5 screen installation featuring fMRI brain scans, Mothlight (1998), and Mothlight II (2001) which features halogen lamps, solar panels and video monitors in delicate counter-balance, Merging/Emerging (1999) a site-specific digital installation featuring video projection and a linked web-site for the Bath International Music Festival, and A T Photographic Truth 2001, a digital projection for the Canon Photography Gallery at the Victoria & Albert Museum. (2001.) In 2002, his solar-powered digital video installation For William Henry Fox Talbot (The Pencil of Nature) 2002 was featured in “Digital Interventions”, a year -long exhibition at the V&A, London.

In 2003 Meigh-Andrews was commissioned to produce Temporal View in Amsterdam (After BB Turner) for Huis Marseilles Foundation for Photography in Amsterdam, and in Sept. 2004 he completed a NESTA/ACE funded research project creating Interwoven Motion, an outdoor “self-powered” video installation for the Foundation for Art & Creative Technology (FACT), with support from Grizedale Arts.

In 2005-06 Meigh-Andrews exhibited Resurrection, a solar-powered video installation in Digital Discourse, an exhibition of new work by 8 international artists timed to coincide with the Commonwealth Heads of Government Conference (CHOGM), in Valetta, Malta, with support from the British Council.

Currently Reader in Electronic & Digital Art and at the University of Central Lancashire, he is director of The Electronic & Digital Art Unit (www.uclan.ac.uk/edau), a centre for post-graduate research. He is co-curator (with Catherine Elwes) of “Analogue: Pioneering Artists’ Video from the UK, Canada and Poland (1968-88) ”, an international touring exhibition (2006-07) funded by Arts Council England and curator of “The Digital Aesthetic ” (2001) and “Digital Aesthetic 2” (2007) in conjunction with the Harris Museum in Preston, Lancashire. His book, “A History of Video Art: the Development of Form and Function” was published by Berg in 2006.

Further details of the work of Chris Meigh-Andrews can be seen on his official web site: [1]

His work is also featured in Rewind, a major survey of UK artist’s video in the 1970’s and 1980’s at: [2]

Complete Videography: 1977-2005

• 1977 Continuum (2 screen videotape, with Gabrielle Bown)
• 1978 The Docklands Project (2 screen videotape, with Chris Hartwill)
• 1978 The Viewer's Receptive Capacity (videotape, with Gabrielle Bown)
• 1979 3:4 (videotape, with Gabrielle Bown)
• 1979 Horizontal & Vertical (videotape)
• 1979 Scanning (videotape)
• 1979 Clock-Wise & Counter-Clockwise (videotape)
• 1979 On the Pier (videotape)
• 1980 The Distracted Driver (videotape)
• 1980 Field Study (installation)
• 1981 The Chance Meeting (videotape)
• 1982 The Room with a View (videotape)
• 1982 Time Travelling/A true Story (videotape)
• 1983 Interlude (Homage to Bugs Bunny) (videotape)
• 1983 Light, Time, Memory...... (installation)
• 1984 5 Minutes (videotape)
• 1984 Still Life with Monitor (videotape)
• 1984 Inspiration ( site-specific installation)
• 1985 On Being (videotape)
• 1986 Other Spaces (videotape)
• 1986 An Imaginary Landscape (videotape)
• 1987 The Stream (videotape)
• 1988 An Imaginary Fountain (installation)
• 1990 Eau d'Artifice (installation)
• 1991 Streamline (installation)
• 1992 Heaven & Earth (site-specific installation)
• 1992 Domestic Landscapes (videotape)
• 1993 Cross-Currents ( site-specific installation)
• 1993 Zoetrope (installation)
• 1994 Perpetual Motion (installation)
• 1994 Domestic Landscapes (CD -ROM)
• 1994 A Sense of Myself (CD-ROM)
• 1995 For John Cage (installation)
• 1995 Fire, Ice & Steam (site-specific installation)
• 1995 Vortex ( site-specific installation)
• 1997 Mind's Eye (installation)
• 1998 Mothlight (installation)
• 1999 Merging/Emerging (site-specific installation)
• 2000 Place Setting (site-specific installation, with Peter Ting)
• 2000 Fenetre Digitale (site-specific installation)
• 2001 A Photographic Truth (installation)
• 2002 For William Henry Fox Talbot (The Pencil of Nature)
• 2002 Returning
• 2003 Temporal View in Amsterdam (After BB Turner)
• 2004 Wawel Castle from Debenicki Bridge (After Ignacy Kreiger)
• 2004 Interwoven Motion (site-specific installation)
• 2005 Resurrection (Projection installation)

[edit] References

• (2005) Video installations, 1998/2004. Preston, England : Electronic & Digital Art Unit, University of Central Lancashire. ISBN 1-901922-51-0. 
• (2006) A history of video art : the development of form and function. Oxford ; New York : Berg. ISBN 1-84520-218-X.