HATWALK/ Guerilla Millinery/ Part of the Cultural Olympiad

Stealth Visor for the Duke of Wellington Project HATWALK The 2012 Cultural Olympiad would not have been representative of London's creative industries without fashion design. Sponsored by the Mayor of London brought milliners to organise an alternative to the catwalk format , the designers brought together a Hatwalk, uniting landmark heritage statues, classical and modern, to be crowned with a new bespoke design piece each. Together forming a pedestrian navigation through the Jubilee city, the hats also invited twenty one milliners to consider the specificity of working for the great outdoors. Rigorously tested in wind tunnel laboratory to withstand hurricane wind speeds and squally shows the designs aim to bring the 'exclusive' culture of fashion accessories to the inclusive culture of international festival. Working with new technologies of engineering, such as laser measuring tools, and crane for assemblage and fitting, McLean brings new meaning to the familiar figures of national public authority. Since the storming of the Bastille in revolutionary France it has been traditional for the new order to symbolize change through attacking public statuary. In a similar vein, Hatwalk, invites spectators to reconsider the relationship between distant and lofty personages of power and the sartorial insignia through which their power is signified. Crowned with a revolutionary red ' large plexi punk neon number' the Duke of Wellington, at Wellington arch is the first in the Hatwalk exhibition. The originality of this research consists in the effects of surprise and Brechtian 'de familiarisation' resulting from the unexpected. The effects of this structural carnivalesque inversion of authorities can involve a range of reactions from the disdain of the offended to the laughter and pleasure of the surprised. This strategy of bringing the ludic element of play to the formalised authority of legitimised power is also signified through the conscious use of materials and colour in a monochrome and uniform culture of statuary. Here the difference in materials and visible surface of the design signifies the differences that need to be included within a socio political order before it may takes its place in history as being representative of the people it is entrusted to lead. This research output continues the work that led to the Hat Anthology exhibition (output 1), the Fifty Hats that Changed the World (output 2), the Jamaican Olympic team headwear design ( output 4), and is continued in the design, merchandise, accessories and avant garde artefacts of the House of Flora ( see website). The iterative process of the research brings innovation within continuity to McLean's work. It is difficult to theorise the 'rigour' that is undeniably present in a creative design praxis except in that McLean;s research outputs are always surprising and unexpected.

Oramics: Atlantis Anew

A moving image work co-commissioned by the Science Museum (London), with extensive unprecedented access to the Oramics archive at Goldsmiths College and the Science Museum. Conceived of as an Artist's film in homage to Daphne Oram, the pioneer of British Electronic Music and co-founder of the BBC Radiophonic workshop in 1958, the film features a close-up encounter with her unique invention, the Oramics Machine, housed at the Science Museum in London. Oram used drawn sound principles to compose ‘handwrought' electronic music, and yet the visual nature of her work remains largely unseen and unsung. Exhibitions: ‘Oramics to Electronica’ Science Museum (London 2011-14); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012); ‘Samsung Art+ Prize’ BFI Southbank, London (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton); Mini-retrospective screening and in conversation with Lis Rhodes, Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016).

Sound Seam

A moving image work based on research with neurologists and audiologists, collectors and archivists. The film gives voice to the idea that every surface, in particular parts of our anatomy, is potentially inscribed with an unheard sound or echoes of voices from the past. The soundtrack’s musical composition is interlaced with a voice-over which draws on Rainer Maria Rilke’s text 'Primal Sound', where he reflects on the possibility of playing the coronal suture of a skull with a phonograph needle. The film uses microscopic photography, scanning electron microscopy, and sounds of otoacoustic emissions to uncover haunting aural bonescapes. The voiceovers too are recorded using old sound technology as a filter - writing and over-writing of wax cylinder to create unexpected scratches, glitches, loops and echoes. Exhibitions: shown as multi-channel sound/film installation AV festival (Newcastle 2010); solo exhibition at Wellcome Collection (London 2010-11); group exhibition ‘Samsung Art+ Prize’ BFI Southbank (London 2012); group exhibition ‘Transcendence’, Gertrude Contemporary, Melbourne (2014); solo exhibition as part of the International Rotterdam Film Festival (2013); group exhibition ‘The Sight of Sound’, Deutsche Bank VIP Lounge, Frieze Art Fair, NY (2012). Screenings: mini-retrospective at the Lincoln Centre, NY, as part of the New York Film Festival (2013); Jarman Award Tour screenings (2012, venues included Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects; Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton), Whitechapel Gallery, London; FACT, Liverpool; CCA, Glasgow; The Northern Charter in partnership with CIRCA projects, Newcastle (special Q&A Aura Satz with Rebecca Shatwell, director of AV festival); Nottingham Contemporary, Nottingham; Watershed, Bristol; Duke of York Cinema, Brighton; Mini-retrospective at Tate Britain (London 2014); Mini-retrospective screening, DIM Cinema, The Cinematheque (Vancouver 2015); Mini-retrospective at Whitechapel Gallery (London 2016). Publications: ‘Sound Seam’ booklet with contributions by Steven Connor and Tom McCarthy (2010).