Annabel McCourt grew up in rural Lincolnshire, to the soundtrack of A-10 Tank Buster gunfire at RAF Donna Nook bombing range. From Cold War to current conflict, Lincolnshire has provided a platform for ‘intervention’.
Drone Ground Control Stations form the focus for ‘REMOTE’. Building on from ‘Electric Fence’, themes of our own latent potential fused with the macabre muscularity of the work itself, ‘REMOTE’ will physically place a replica of a Ground Control Station in the gallery.
Rules of Engagement, gaming culture, fake news & technology will collide with our preconceptions, our imagination and ultimately our moral code.
The aim is for it to spark debate, engender a sense of ownership, which upon first encounter the work might appear off-putting/macabre/unwelcoming.
The layers of interaction will counterbalance the confrontations. To question, or rather get an audience to question the loss of physical interaction/physicality in connection to the reality around us, by creating the ultimate balance between art and technology.
The very name REMOTE plays devil’s advocate. Are we completely detached from the wider world, more insulated, less connected, fragmented or are we ultimately in charge?
REMOTE (ground control station) will be the physical conduit for exploring our insular world as remote voyeurs, with augmented & virtual reality blurring fact and fiction in the way we choose to present ourselves to the wider world via social media. Does this influence the mainstream media’s decision on what to present to us, our appetite for kittens playing outweighs our interest in war zones – or does it?!
Recipient of the St Hugh’s Foundation’s Main Award in 2018