And Campbell Patterson brings together a selection of videos made by Campbell Patterson over the past two decades, including all 20 from his ongoing series Lifting my mother for as long as I can, which has been restaged annually since 2006. These videos chart Patterson’s characteristic approach to performance–to–camera, whereby mundane actions in suburban contexts illuminate the seemingly trivial details, absurdities, and pathos of day-to-day life. Shot plainly, the documented activities exaggerate and make public a range of private yet relatable instances that seem compromising, embarrassing, or pointless. Made between 2004 and 2025, Patterson’s videos map a history parallel to the exponential rise of social media—their willing vulnerability contrasting with the proliferation of fabricated personas now associated with online representations of self. Like many artists of the 1960s and 70s who were experimenting with handheld cameras and lo-fi video technology in response to mass media and consumerism, Patterson occupies the screen subversively, using it as a site to more deeply reflect on the physical and psychological dimensions of being human. Contending with the inherited histories of screened media and a vast, expanding network of videographic imagery, his actions probe a myriad of feelings, from failure and anxiety to restlessness and disquiet. Made predominantly in standard definition (SD) rather than high definition (HD), and without specialist equipment, these intimate portrayals connect directly and unspectacularly while defying constant technological advancement.

This selection from Patterson’s video oeuvre is paired in the exhibition with a suite of 12 new paintings produced by the artist between 2024 and 2025. Having made both videos and paintings since the early years of his practice, And Campbell Patterson considers the ongoing significance of these modes as parallel streams. Despite operating at different time scales and within different histories of art, the videos and paintings have similarly diaristic qualities. Patterson describes his canvases as ‘sponges’, suggesting an absorption and subtlety of his own presence and time—elements that are more prominent in his videos. Produced over twelve months, and all using the same seven colours, the paintings each ‘soak up’ certain conditions of the contexts in which they were produced, becoming abstract pictures of inhabited times and places.