Selected Exhibitions2011 Screening in group show @ HOLE, London
EverythingElse Screening in group show @ ICA, London
2010 SHIMSHIMIBANDUPerformance & group exhibition @SASG,SouthKorea.
Degree show @ Goldsmiths,London
Group show @ ‘The Lift and Hoist’ / Ramp Art Space, London
Group show with curator Polly Staple @ Project Space, Goldsmiths, London
Solo show @ Brickhouse Gallery, London
Group screening of video work @ The Perseverance,London
Curational project with Paul Crook, exhibited @ BSPACE, Goldsmiths, London
Awards and others
2011 Artist’s assistant and video editor to HilaryKoob-Sassen on Film London & Jarman
Award listed project ‘Transcalar Investment Vehicles’ to be screened at
Production assistant and camera operator to DuncanCampbell on new work for solo
show at Hotel, London.
Guest at Geumcheon 2010 as participant & bass player in SHIMSHIMI BANDU collaboration.
A Critique of Michael Harvey
Freya Field-Donovan(Writer and Critic)
In the practice of Michael Harvey there is an ever-present concern with translating and fragmenting formal boundaries. The sonic becomes image; the sculptural is recoded into digital. Within these redistributed mediums ‘marker objects’ such as scintillating sashes, flags, drums and images of monuments act as bridges back into the prevailing order of signification, to elaborate an expanded aesthetic exploration of these emblems of collectivity.
Scintillation crackles and splits the lines between human/non human, organic/manmade, image/object, technological innovation or technological threat. Within this rupture, boundaries can dance or pulsate. In <Who Can Divide Us?>(2012) obelisks and insignia are interspersed with the fragments of human anatomy, juxtaposing monumentality, or abstract groupings with the most minute and irreducible components that maintain a life. These concoctions disenfranchise structures so as to reorganize them into a new kind of mobile (in)coherence.
In <Lots of Love>(2010 to present) this exploration of interpenetrating experiential spheres takes on a much more selfconscious form, whereby digital sound is synthetically manipulated to create analogue images on a series of television sets. This meditative process impresses a surprisingly emotional reaction to what is in reality a technical subversion of digital information, carving out a curiously personal space for reflection somewhere between displacement and belonging, individual and structure, fascination and fear.
Harvey’s work seeks to reorder information in and around existing hierarchies of meaning or material, exposing the possibility for movement or change within given processes: to produce never-complete hybrids that simmer with the potential for endless maneuvers; to re-articulate that which is already there proves a fruitful ground for a richer understanding of that which we already know.