Working primarily in the moving image, Grace Weir is concerned with aligning a lived experience of the world with scientific knowledge and philosophical theory. She takes a transdisciplinary approach, a research strategy that crosses many disciplinary boundaries, researching facts not as self evident objects in the world but as processes, examining the complicated mediations by which facts acquire their immediacy. Grace Weir is interested in making a critical appraisal of film through film-making, through a critical practice that fuses documentation with highly authored situations. Her work is wide ranging, from structural cinematic works to more experimental videos and installations.

Robert Boyle the scientist, insisted that experiments should have a public dimension, be witnessed by others and the facts thereby established being broadcast as far as possible. The social spaces of collective witnessing have been emptied out. Science operates at a remove. Grace Weir is interested in ideas around performance and witnessing, in exploring the experimental process itself, an inexact activity that combines rigorous science with a host of other social and artistic acts. The relationship between the observer and the observed is critical in science, as it is in other disciplines such as art. Janna Levin, a physicist says “this interference between the observer and observed is truly profound. We are part of the system: as austere and distant and objective as we try to be in our scientific investigations, there is a theoretical limit to how precisely we can remove ourselves from our object of investigation.” Weir's work examines how the imperfect world of direct experience plays a vital role in our understanding of the more perfect theoretical concepts.

Documenting the transformation of people through conversation and interaction, her work probes the nature of a fixed identity. Weir is interested in tracking states of becoming and these questions are underpinned by the theory under scrutiny. Working in film, Grace Weir is interested in the specific nature of the media itself. Deleuze’s emphasis on time and motion lead him to a formulation of film as another example of ‘becoming’ - the image cannot be separated from its motion and has, therefore, a constantly evolving meaning that remains open, never resolved. She is interested in ideas and issues that have an irreducibility to a totality, that are not unspecified because something is missing but because of their nature and content.

Solo Exhibitions

Commissioned Web and Film Projects

Group Exhibitions

Awards

Education