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D O M I N I Q U E C R O   


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Dominique Cro

New media artist

Living and working in London

Artist at Cyclic Matter Arts Organisation 2019 - 2021



First Class BA Fine Art degree, Kingston University, 2015



Art Basel Miami: ArtSect Gallery OVR plots 2021

DCentral Miami 2021

ReA! Art Fair, Fabricca del Vapore, Milan, 2020, awarded the ReA! Art Prize 2020


Orbit: Ridley Road Digital Winter Series commission and screening, Ridley Road Market Bar, 2022, supported by Arts Council

Kammerflimmern, Heizhaus, Nuremberg, outdoor projection map + online screening, 2022

Xi-Clone Drēmzü: Dominique Cro x Ben Coiacetto, design and build by Typeone, hosted by ArtSect Gallery, online exhibition 2021

Routes: ReA! Art Prize Winners, Scalo Lambrate, Milan 2021


Correspondance x The Photographers' Gallery, online show, 2021

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 Fritter 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 screening with Faultress, BBC Music Introducing Live, London 2019


Wearing a Stranger’s Genes screening, It’s Her Factory, The Victoria, London, 2018


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 


Us and Things, Art Lacuna Gallery, London, 2015


Pasteurized Prepared Cheese Product, Cavendish Gallery, London, 2015


Hubble, Kingston University, London, 2014 


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


Level 4, Kingston University, London, 2013


Appareo, Cavendish Gallery, London, 2013


Ion Collection, Abbey Road Arches, London, 2013


Orbit: Ridley Road Digital Winter Series commission and screening, Ridley Road Market Bar, 2022, supported by Arts Council


Fr33dom Road, 2018, supported by Arts Council


12 Hour Cell, Stanley Picker Travel Award, Kingston University, 2013


Orbit: Ridley Road Digital Winter Series commission and screening, Ridley Road Market Bar, 2022, supported by Arts Council

ID Me, Kingston University Printmaking Collection, Kingston University, London, 2014


Issue 8: The Environmental Issue, Haus a Rest Zine, online feature, 2020


Power House, Standard, edition 1, 2016


File Corrupt, Kingston University Degree Show 15 publication, 2015



Como Mag, online feature, 2021

Dare Clan, issue 41, editorial 2021


Doug Fishbone Residency, Kingston University, London, 2015


Bodmin Residency, Bodmin, Cornwall, 2014. Funded by the Stanley Picker Travel Award


Podcast Radio Marten 'Creasing Patterns in Image-led Societies', Cyclic Matter, Olho Marinho, Portugal, 2020



I knock on your skin, SET Woolwich, group show, 2022

ArtSect Gallery, Head of Arts and Exhibitions 2021 - 2022

Fr33dom Road, The Bernie Grant Art Centre, London, 2018. Supported by Arts Council England

Interfaces Monthly, Barbican x The Trampery, 2016 - 2018


Institutions I've worked with include Sadie Coles HQ, White Cube, David Zwirner, Barbican, Hayward Gallery, 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 humankind 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. Humankind’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 have 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.




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 humankind - the capitalocene and digitisation. 


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 our society of capitalistic conditioning and consumer culture? Could we be better ancestors for those who occupy the future? 

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