Suzannah Pettigrew is a British artist whose work explores generative systems on and offline through sculpture, performance, moving image, digital media, and installation. *The End (For Now)* explores the personal passing of time through technology and mediums of storytelling. In this work, Suzannah establishes new connections and rhythms between a collection of stills from her family film archive, augmenting them further into a single-channel video. The work considers what types of moments we choose to document and how this changes over time in relation to society and technologically. Furthermore, what happens when these fragments of time and technologies come together to form a new work entirely?

The End (For Now) explores not only a personal passing of time, but a journey through technology and mediums of storytelling. The works expand a film archive that has developed over decades from a revisited collection of individual and shared intimate family memories. The double media layering enhances the 8mm and VHS grain captured in the photographs; the black borders, which give no sense of spatial placement, push the images further into the past. 

The photographs created from the film archive have been reformatted back to moving image. The series were exhibited, in the same sequence, as photographic prints at Auction House project space in Cornwall, UK. The duration of the photographs in this film are in relation to the image description and draw focus on the tension of pace. Through reverting the stills back to the source format of film and augmenting into contemporary parameters the distortion of memory and technology is explored.

The End (For Now)

Augmented Archive 23, Colorized, 2021

Notes on Travecacceleration

an intergalactic experience on the Mende express

Bíblia, boi e bala I // Bible, ox and bullet I

🟡 𝕹𝖊𝖑𝖙𝖔𝖐𝖔𝖓𝖎 : 𝕴𝖙𝖍𝖚𝖆 🟡

Tupinambá

SHINE 2

The artworks in this curated collection explore preservation and adaptation. Using the digital space to consider ways in which ancestral knowledge, lived experience, and collaboration can create different pathways into understanding our present moment, making sense of what came before and how we might want to move into the future.


Here we see layering of time, textures, materials, and modes of being. There is an inherent transparency to working in this way, in which it feels like all of the artists are exploring the ethics of collaboration, collage, and reinterpretation. Visual imagery, metaphors, and sound as languaging tools. Ones which feel the personal hand of the artist while also exploring wider notions of archival preservation and augmentation.


I’m interested in how certain aspects of the artworks are preserved in digital form— whether it’s a literal image, visual style, sound, cultural or historical context—while simultaneously becoming a hybrid with new context and connotations. To me this feels a lot like memory. How we remember, how we tell stories, and how we make meaning out of our lived experience.


What are the things we want to remember, to meditate on, to take forward with us? How does layering in digital space allow us to pull things apart and reorder them in new fragments, visual languages, sounds, code…

Ancestral Futures

Exploring the hybridity of the original and the possible.

The End (For Now)

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