I am an artist, educator and researcher working between the fields of science and art. My practice is often collaborative and distributed across many mediums, including workshops, drawing, sculpture, installation, and sound art. Projects often take scientific experiments and concepts as a starting point; these are then re-created and re-invented, outside of their scientific context. This process leads to new lines of enquiry and experiments, which become the basis for new artworks and workshops. The work often incorporates live processes: generative sound, self-contained ecosystems, or illusory perceptions.

I am a member of several artist collectives, including, Proximity, para-lab, and Owl Project. Owl Project is known for performance [sound art] and sculptures that combine elements of crafts and electronics. Most notably, we were commissioned to create ~in collaboration with Ed Carter to devise ~Flow, as part of the 2012 Cultural Olympiad,a floating water mill that powered an installation full of mechanical wooden and electronic musical instruments which responded to and data collected from the river water.

DM via Instagram: @tonazoid
Contact email: info[at]antonyhall.net

↪See blog for research and work in progress

Follow me: instagram @tonazoid / Twitter @TabletopE
Contact me to inquire about workshops info@antonyhall.net

Online text, interviews, profiles, reviews:

Is it art if no one can see it?
Artists are in a unique position, being able to play with assumptions and expectations, a certain state of perception, one assumes on entering the gallery space, a readiness to look closely and absorb. Potentially looking closely and reading meaning into things they would otherwise consider banal...↩]

"...Antony Hall’s series of experiments catches our attention, in particular “Perpetual Puddle Vortex: Experiment No. 3”, in which a flat dark pool of black ink visibly and audibly drains away through a hole in its centre. We wait to see if it will empty. We wait some more, yet the pool remains full to the plinth’s brim. A technical feat, yes, but accomplished with a filmic brilliance that lends the piece a hypnotic quality. In this piece it was not the puddle that resembles life, but the plinth and the gallery space; drinking and replenishing the endless fluid..." Tim Howard, reviewing 'On The Move' at Gazelli Art House http://artwednesday.com/

↩ "Tech Know: Etch A Sketch and robotic swarms at Future Everything" By Andrew Webb, BBC News http://www.bbc.co.uk/news/technology-13443240