Six questions for
Alasdair Asmussen Doyle

Tique asks six questions to an artist about their work and inspiration.
This week: Alasdair Asmussen Doyle.

Artist Alasdair Asmussen Doyle
Lives in Belfast and Brussels

How do you describe your own art practice?

I am a visual artist, PhD researcher and occasional writer, working with moving-image and filmic heritage, as a means to explore multiple relations of physical places and films.

Which question or theme is central in your work?

A large part of my artistic practice draws upon my own experience as an Australian inhabiting Europe. These often draw upon my own positioning between two antipodean sites, of my island home of Australia and my European ancestry and current place of residence, and consider states of dislocation and duality — a being here and there in place; such as in a recent project titled ‘Saw in half’, that documented the translation of botanical material and knowledge between Malahide, Tasmania and Malahide, and ‘The Other Island’, a work centered on the colony of wallabies that inhabit the Isle of Man.

What was your first experience with art?

One of my first recollections is standing in front of a Tony Tuckson painting at the Adelaide Gallery of South Australia with my grandfather, and he exclaiming ‘I could paint that!’. It wasn’t until my 20s, through friendships and learning about the work of artists such as Francis Alys, Tacita Dean, Renzo Martens, that my interest in art was piqued.

What is your greatest source of inspiration?

Lingering experiences, such as seeing a wallaby out the corner of my eye on the Isle of Man. This sort of discontinuity and augmentation of a landscape is something that I both draw upon and look to render within my artistic practice.

What do you need in order to create your work?

Community. And also, as I am largely working with analogue filmmaking processes, my Bolex camera is an increasingly indispensabile piece of equipment within my practice. One of the great things about this camera is how reliable they are [many have been in circulation since the 1950s], and as a hand-wound camera, that you’re not dependent on a power source. In ‘Where I am not’, a project inspired by reaching the point opposite my birthplace, I used this camera some several hundred kilometers out to sea.

What work or artist has most recently surprised you?

Rosa Barba’s ‘In a perpetual now’. I’ve increasingly been fascinated by Barba’s practice, who equally explores intermedial spaces between landscape, the materiality and language of film, and the act of projection. I was deeply moved by her exhibition at the Neue Nationalgalerie, which cast analogue filmmaking as an active and generative medium.

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