Barmy, baffling and weirdly funny, Thomas’ rejig takes John Smith’s honed inquiry into film’s structural conditions and reverses its terms: instead of a lone protagonist, a group; instead of his lonely death because of the tower, a celebratory union with the ‘thing’. Thomas’s non-sequitur digression into collective conviction is an elliptical, satirical examination of contemporary belief, as much as it is about the problem of art as an incommensurate, incommunicable experience. If Smith’s film sought to reveal the truth of its technology, Thomas suggests that video can only witness truth’s evanescence in an increasingly uncertain age.
Jennet Thomas (Born 1963 – Herfordshire, UK) is an artist who makes films, performances and installations. Her work began as spoken word and projections for a live audience, it now combines a variety of filmic languages, ranging from soap opera to experimental and underground filmmaking, from sci-fi to musicals. Her work tackles very human content and is often bleakly comic. Thomas’s work emerged from the anarchistic, experimental culture of London’s underground film and live art club scene in the 1990s, where she was a co-founder of the Exploding Cinema Collective. Her numerous film works have screened extensively in the international film festival arena (Rotterdam, Oberhausen, New York Underground Film Festival) with retrospectives at the Pleasure Dome (Toronto), Anthology Film Archives (New York), and Rencontres Video Art Plastique (France).
More information can be found on her website: www.jennetthomas.com