Chris Meigh-Andrews (1952)
United Kingdom


Biography :

"Chris Meigh-Andrews’ first experimented with video in 1973 when he lived in Montreal and began exhibiting his work internationally in the late 1970’s. His early single screen video works have featured in a number of key exhibitions: “Short Histories of Video Art, (Part 2)”, John Hansard Gallery, Southampton, 2004; “Electric Eyes: British Artists’ Video 1985-88”, Tate Gallery and the Institute of Contemporary Art (ICA), London; Museo de Arte Moderno, Medellin, Columbia, Akademie der Bildenden Kunst, Vienna 1988; “Genlock”, Interim Arts, London, (& Touring) 1988; “Video from the 70’s and 80’s”, Doggerfisher, Edinburgh, 2008; “Analogue: Pioneering British, Canadian and Polish Artists’ Video”,(1968-88), Tate Britain, Anthology Film Archives, New York, the Foundation for Art & Creative Technology (FACT), Liverpool, Museum of Contemporary Canadian Art, (MOCCA),Toronto, Arsenal Institute fur Film und Videokunst, Berlin, and the Centre for Contemporary Art, Warsaw, 2007-08 and “The Self & Surroundings”, Dundee Contemporary Arts Centre, 2012. His early video work also features in two recent DVD collections: “Rewind and Play: An Anthology of Early British Video Art”, Lux/Rewind, (2009) and “New Contemporaries Moving Image: 1968-2010”, Bloomberg/New Contemporaries, (2014).

Installation commissions include the Harris Museum, Preston (Eau d’Artifice, 1990); the Foundation for Art and Creative Technology (FACT), Liverpool, (Streamline, 1991); Camerawork, London (Cross Currents, 1993); Bath International Music Festival (Merging/Emerging, 1999); Victoria & Albert Museum, London (A Photographic Truth, 2001) and For William Henry Fox Talbot: the Pencil of Nature (2004); Huis Marseille Foundation of Photography(Temporal View in Amsterdam, 2003); the London School of Hygiene and Tropical Medicine (Returning, 2002) and Cavalier St James Centre for Creativity, Valletta (Resurrection, 2005)

Meigh-Andrews’ site-specific installations often incorporate renewable energy systems, establishing direct relationships with the natural and constructed environment. Interwoven Motion, a prototype self-powered outdoor video installation for Grizedale Forest was developed with a research award from the National Endowment of Science, Technology and the Arts (NESTA) and Arts Council England in 2004. His installation, The Monument Project (Si Monumentum Requiris, Circumspice), commissioned by architects Julian Harrap, produced a continuous stream of panoramic images from the top of the Monument in the City of London 24/7 for three years (2009-2011). Aeolian Processes (Box Revealing the Sound of its Own Making), was produced for “La Lune: Energy Producing Art”, New South Wales, Australia (2014); In Darwin’s Garden, an augmented reality installation, produced in collaboration Dr Alan Summers and in association with the National Trust was featured in the Leonardo Electronic Almanac, and Kasa Gallery, Sabinsi University, Istanbul, (2012) and Oriel Sycarth, Rexham (2017). In 2017 his two-channel outdoor installation For Issac, Alan & Steve was long-listed for the Aesthetica Art Prize.

Examples of his single screen video, installation and photographic work are held in a number of national collections including the Victoria and Albert Museum, London; Stadsarchief, Amsterdam,Muzeum Historii Fotografii, Krakow; The Harris Museum and Art Gallery, Preston; The Scottish Screen Archive at the National Library of Scotland; The British Artists’ Film & Video Collection and the Lux Collection, as well as in a number of private collections. Most recently, documentation of his early video and installation work and a substantial collection of his photographs, papers, notes and writings have been acquired by the archive and library at Tate Britain."

(Source, artist's website)

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