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Andrew Leslie Hooker

 
 

Andrew Leslie Hooker, pittore e filmaker, compie studi di cinema e letteratura alla Manchester University dal 1978 al 1982. Nel 1982-83 è assistente di produzione per la Viking Films, (Oslo) e negli stessi anni fonda la A-Works, una residenza creativa aperta a diverse discipline artistiche tra le quali il cinema, la video-musica, il design, la fotografia e la produzione critica. Collabora come designer e videomaker, con varie etichette, tra le quali, Mute, 4AD, Anxtious, Some Bizarre, Pathalogical. Sempre nel periodo inglese, realizza servizi fotografici per ID e The Face ed è assistente di produzione per vari film, tra i quali The Garden (Derek Jarman), Caravaggio (Derek Jarman), e 1984 (Michael Radford). Nel 1989 si sposta to Roma. Espone fotografie e dipinti in numerose gallerie in Europa e negli Stati Uniti, alla Annina Nosei (New York), Pio Monti (Roma), lo Studio Bocchi (Roma), Il Ferro di Cavallo (Roma), Gallery C (Londra). Nel 2003 fonda la Mutant Love Dolls Experimental Animation Film Company. Realizza in questo ultimo periodo il lungometraggio di animazione The Sinking of the Titanic in collaborazione con Gavin Bryars, Phillip Jeck e Alter Ego, premiato alla  Biennale di Venezia nel 2005.

Andrew Leslie Hooker is a painter/filmmaker, electroacoustic composer/improviser, sonic-arts-practitioner and linguist currently living and working in the U.K. He began his career in photography and graphic-design collaborating with various art, music and film publications, record labels and international dance and theatre companies. He has exhibited large and small-scale paintings, photographic works and experimental films in various galleries throughout Europe and the United States and was included (as filmmaker) in the 49th Venice Biennale, contemporary music festival. At the present time, he is working on several film, sound, installation, linguistic and dance projects including: establishing a residential place of study devoted to the research of the English language in relation to film theory and aesthetics; A/V designing of sculptural-dance pieces in collaboration with Anoikis II Contemporary Dance Company; writing and directing a feature-length film exploring the English working-class identity/gender crisis during the latter-half of the 20th century and creating a 400-hour-loop, site-specific expanded-cinema installation which combines traditional oil painting/cell animation with high-definition video in a radical exploration of the possible relationships between displaced notions of aesthetic/ontological theory and the perception of self within the socio-political dystopias of occidental hyper-modernity.