Materials: a video PAL projection with surround sound and subwoofer, 2 video works for monitors with headphones, 2 plinths and a bench (all videos are screened together and looped). The films are housed in a fabric tent on a wooden structure with a fabric screen on a wooden frame.

http://extramissions.com/

Extramission 2 (The film) 15 minutes
The larger projected film in the installation covers Seer’s attempts to become a projector. This seems to be the answer to her problems of living life as a camera. Her return to Mauritius with her mother, to find a missing house from her childhood, raises questions about the stability of memory and the impossibility of fully understanding the past. Her idea to give up the past brings on her activities as a projector – to move forwards in time emanating light.

Necromancer (2020 version replacing The World of Jule Eisenbud) 3 minutes (monitor)

The second film of the series begins with a sight gag: the first in a series of delightful absurdities appropriate to the vaudevillian turn in the artist’s work. The narrative charts Seers’ Aunty Barbara who worked in Blackpool as a ventriloquist and Seers’ own performance as a ventriloquist with a number of dummies that photograph from their automated mouths.

The Projectionist (2020 version replacing intermission) 3 minutes (monitor)

The third film witnesses Seers' journey unfold towards becoming a performance artist. She talks intimately of her inability to speak until the age of 8 and of her photographic memory and ruminates on the post colonial trauma that pervades the islands history and how that is embodied.

A work acquired for Rugby Art Gallery with funds from Contemporary Art Society and Victoria and Albert Museum.

https://research.gold.ac.uk/id/eprint/29738