“Object Self”, 2019, virtual 3D augmented reality self-portraits, at Tate Modern, London.Marcin Czarnopyล, Kelise Franclemont. โMotherland (a diary)โ (detail), 2017, archival installation of found objects, in โConnect: Katowice and Londonโ at Rondo Sztuki Gallery, Katowice, Poland. Image courtesy Rondo Gallery and Connect: Art Projects. Photo credit Michaล Jฤdrzejowski.“Limn Reveries”, 2014, installation and drawing performance, in “Live in your Dreams!” at The Crypt Gallery, St Pancras Church, London
“Corduroy Dog (or, How Memories become Real”, feature short and 3D augmented reality object, 2019, at Tate Modern, London.‘The Promised Land’, 2016, HD digital video on iPad with stereoscopic goggles and sound, duration 1:40 (looped). Image courtesy the artist.From โTaxi Driver Dialogueโ, 2013, audio and installation, 30 minutes, in 2013 BA Summer Show at Chelsea College of Arts, London. Image courtesy Kelise Franclemont.Kelise Franclemont, ‘broken window’ (film still), 2013, digital charcoal-drawn animation [22 secs, looped], in ‘Drawing’ at Wimbledon College of Arts, London. Photo courtesy the artist.Kelise Franclemont, documentation of performance, ‘Right to Movement Rat Race – Office Party Marathon’, 2014, performance, duration varies. Pictured (l-r): Kelise Franclemont, Jonathan Slaughter. Image courtesy the artist. Photo credit Thomas Butler.
‘Prayer for Rain’, 2017, hologram, copper, and sound, in ‘Stations of Water’ at St. Paul’s Cathedral, London. Image courtesy the artist. Photo credit Graham Lacdao.Kelise Franclemont, detail of ‘A Walk through Palestine (collectable, artefact, relic, souvenir)’, 2015, installation of sound, printed posters, and found objects. Image courtesy the artist.Kelise Franclemont, ‘arabic coffee’, 2014, performance and installation in ‘Collaborationem’ at St Saviour’s Church, Pimlico, London. Image courtesy the artist. Photo credit Paul Abbott.
