Beautiful Noise by Henry Davis
In my practice I like to concentrate on the unsaid, the cataclysmic and the domestic. Examining the liminal and subversive I uncover strict silent codes and my work serves to tease out the dichotomy between safe public environments and private, intimate experiences. For the project Beautiful Noise I returned to my family home. I stripped the dwelling of all contents leaving only main pieces of furniture. Constantly changing perspectives sometimes forces a child’s point of view. The focus is on what normally lies unseen and hidden; the underside of the dining room table, dust, a forgotten nail. These tangible, uncovered ‘pieces of evidence’ are not the whole story and I like to think of them as markers to point to that which cannot been seen or touched. The films climax is not really an ending at all as a sense of ongoing surveillance, of unfinished business prevails. The films are scrutinising the elements of home as an empty setting, they are meditations on absence, loss and (just) after. Adding to the uncanny familiarity and (dis)quiet the audio is restrained to a few exterior sounds exclusive to this dwelling. Being simultaneously nostalgic and definitive to present day visits they conflate past with present and for all their forensic precision the films convey both expectation and loss. A sense that something is about to happen prevails as does the feeling that they are remanence, evidence of enduring yet absent energy .
Henry Davis (born 1970) works out of a studio in New Cross, South East London, Uk. He uses film and sculpture to examine how identity is constructed through biographical and cultural influences. Inferring and referencing the repressed and subconscious his practice sits in a liminal space between authenticity and facade, reality and fantasy.