D O M I N I Q U E C R O A B O U T
D O M I N I Q U E C R O
L I V E S A N D W O R K S I N L O N D O N
R E P R E S E N T E D B Y C Y C L I C M A T T E R
G A L L E R Y, 2 0 1 9 - C U R R E N T
E D U C A T I O N
First Class BA Fine Art degree, Kingston University, 2015.
E X H I B I T I O N S & S C R E E N I N G S
ReA! Art Fair, Fabricca del Vapore, Milan, 2020.
Tits & Co, online exhibition, 2020.
660sqft, Affrica Studio, online exhibition, 2020.
Running Time, Frigg Studio, London, 2020.
Depictions of Living, The Art Pavilion, London, 2020.
Art Fritter, Art Fitter Van Gallery, travelling exhibition, London 2020.
London Group Open 2020, The Cello Factory, London, 2020.
People Just Watch TV screening, It’s Her Factory, The Victoria, London, 2019.
Green Fingers screened with Autumnmusic (now Faultress), BBC Music Introducing Live, London 2019.
Wearing a Stranger’s Genes screening, It’s Her Factory, The Victoria, London, 2018.
Fr33dom Road, The Bernie Grant Art Centre, London, 2018. Supported by Arts Council England.
TEDxTottenham, ADA College, London, 2017.
IN-RESIDENCE, Kitsch Studio, London, 2016.
Associates, Five Years Gallery, London, 2015.
Kingston University Fine Art Degree Show, Kingston University, London, 2015.
Bodmin, Kingston University, London, 2015. Curated and exhibited.
Us and Things, Art Lacuna Gallery, London, 2015.
Pasteurized Prepared Cheese Product, Cavendish Gallery, London, 2015.
Hubble, Kingston University, London, 2014. Curated and exhibited.
12 Hour Cell, Lilford Gallery, Canterbury, 2014.
12 Hour Cell, The Kave Gallery, St Leonards – on – Sea, 2014.
£1,131,100.00. Kingston University, London, 2014. Curated and exhibited.
Level 4, Kingston University, London, 2013.
Appareo, Cavendish Gallery, London, 2013.
Ion Collection, Abbey Road Arches, London, 2013. Curated and exhibited.
C O L L E C T I O N S
ID Me, Kingston University Printmaking Collection, Kingston University, London, 2014.
P U B L I S H E D W O R K
Power House, Standard, edition 1, 2016.
File Corrupt, Kingston University Degree Show 15 publication, 2015.
G R A N T S
Fr33dom Road, Arts Council Funding, 2018.
12 Hour Cell, Stanley Picker Travel Award, Kingston University, 2013.
R E S I D E N C I E S
Doug Fishbone Residency, Kingston University, London, 2015.
Bodmin Residency, Bodmin, Cornwall, 2014. Funded by the Stanley Picker Travel Award.
R A D I O
Podcast Radio Marten - Creasing Patterns in Image-led Societies , Cyclic Matter, Olho Marinho, Portugal, 2020.
W O R K
Institutions I've worked with include White Cube, David Zwirner, Barbican, Auto Italia South East, The Trampery, Bernie Grant Art Centre, Convergence, Five Years Gallery, Stanley Picker Gallery and Dorich House Museum.
It can be difficult to tell whether keeping time is more or less important since the invention of time travel.
You’ll probably never be late to a meeting again but you might still get lost.
The ability to travel at the speed of light was first achieved by mankind in 2255. There were whispers that it could bring the dissolution of borders, the abolition of the full time working week and may even cull the concept of time as a commodity. Mankind’s understanding of time moved from linear progression to a cyclic feedback loop, our voices once lost in viscosity now echoed back.
We were naive to think this new abundance of time would free us from selling our own.
Whilst our military developed travel surveillance systems such as Transmission, elites took the opportunity to cash in on ancient artefacts and treasures, triggering a wave of transtemporal colonialism. Just as text, television and the internet had been permeated by capitalism, time travel too became unreachable for those seeking it’s empowerment.
After years of unease, the Access Revolution turned apathy into anger and hordes of protesters flooded the streets. Decades of riots and civil unrest finally ruptured the elitist glass ceiling. Time travel was declared a human right.
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Morning alarm sounds prematurely.
Starlink light pollution breaks through a crack in the curtain.
My legs leave bed first.
I’m an artist and an archivist. An earthling and a Yellow Access Keeper. My designated time period of observation is 2001 - 2100. My role is to document tipping points within the 21st century, with a focus on two major events that changed the course of mankind - digitisation and the anthropocene.
A Timekeeper, Keeper for short, is a status that on paper can be obtained by all. The reality is quite different. Our national time travel system is called InTime, a hierarchical traffic light code in which red, yellow and green status grant varying levels of access.
Green Access - the rarest and most sought after Access card, belongs only to the wealthy; it carries a hefty price tag and the privilege of limitless travel.
Yellow Access - often purchased by a place of work, this Access card is restricted to work use only and is not permitted to be used for time tourism.
Red Access- the only affordable option, Red Access requires trading your data and your privacy for highly limited permissions.
The one rule of time travel is simple, ‘do not interact with any reality that is not of your own time’. You can think of Keepers, as documentary photographers, we travel, observe and let nature take its course. Operating as a fly on the wall system, InTime propels Keepers through centuries and millennia. We learn from past and future beings to change the course of our civilisation today.
Vitamin patch tickles the hairs on my arm.
I jump the high speed train to London.
Toying with the idea of limitless travel like a dolphin who caught the porpoise.
I can never quite let the thought go.
Time interruption is certain annihilation but would intervention change the people we are today? Could we be better ancestors for those who occupy the future?