Julie Marsh is an artist, researcher and lecturer based in London. She studied at London College of Communication, University of the Arts, London, completing a PhD in 2017. Julie’s practice is research-based, process-driven and multi-disciplinary. Her projects are site-specific and collaborative; building direct social relationships with new audiences specific to the site. In developing her practice, Julie has coined the term site-integrity to describe the process of using the same motorized rig to first record the site, then playback the recorded image onto the same surface. Being reflexive in nature, the artworks question the comprehension of space as dualistically experienced and represented.
Julie is currently a Senior Lecturer and Researcher for CREAM: The Centre for Research and Education in Arts and Media at the University of Westminster. She has also taught at art colleges internationally including Goldsmiths, London; London College of Communication, London; The Arts University Bournemouth, UK; FAMU, Prague; Aalto University; Finland.
Made in collaboration with Brick Lane Jamme Masjid community, a series of film installations have been made and exhibited in the mosque during Ramadan. At the end of the residency, the Jamme Masjid will invite the general public into the main prayer hall to experience Jamaat (Arabic: جماعتِ ) (meaning Assembly) first hand via a site-specific re-presentation.
REFERENCE RIO (2016)
Reference Rio comments upon the threat of closure to independent cinemas. The Rio in Dalston was an ideal site to comment upon contemporary screen culture, the way we mediate and experience every part of our existence through handheld screens and multiple images. The cinema space is transformed into an ‘activated’ live space. Cinema, a medium of the past, is re-engaged with media of the present; the primary experience of watching and the secondary experience of representation are merged.
As a female filmmaker access to the prayer room in Birmingham Central Mosque was not allowed. This research residency explored how technical devices can be used to explore and question the social and political notions of such a site, adhering to strict rules to follow when filming and re-presenting. This artwork was made with and for the mosque community.
A site-specific installation located in a train repair depot in Krakow, Poland. The history of the region and its old technologies are bought back into conversation through the rediscovery and intervention of the site. The iPads take on the form of mechanical beings, as they serve as a vehicle by which we are transported into the culture of old Eastern Europe. The train’s previous life and its trajectory of motion are mimicked in the reciprocal motion of the iPads – they are alive, the train is now stationary.
Winspit explores the physical terrain of an old quarry on the cliffs near Worth Matravers in the Isle of Purbeck, Dorset. Using a motorized track and Ipad to phenomenologically track the lunarscape of the cave, the recorded footage is then played back at the same speed as once recorded. The captured footage, maps the reality of the physical site below, this in turn creates a physical effect for the viewer.
Pestera (2015) was made during a month long residency at Ialomita Cave Monastery in Romania. For the entire film the camera faces upwards, while the motorized mast, slowly moved down. As the frame of the camera slowly starts to reveal the ceiling dome and architecture of the space, new architectural structures open up. This cinematic tracking shot through architectural space draws attention to these symbolic readings and our reading of the space alternates between material to iconic.