Love Saves the Day (2022)

This studio led PhD centres on my work Love Saves the Day (2022), the video component of which documents Mark ‘Bez’ Berry, the iconic dancer from the Happy Mondays, re-performing in 2019 a seminal TV appearance by the band from 1989, though with only Bez present. What is produced is a silent film clip, soundtracked by the sounds of the body dancing without music. Within the exegetical text of this PhD, I ask: how can gaps and moments of discontinuity in the structuring of an artwork work to release its forms from the way we have come to know them? In a related question, I ask: in these moments of release, what else may emerge?