An excerpt from the 2012 School of Sculpture Catalogue, Royal College of Art
A 16mm reel projects a moving image of a rotating bike wheel. The bike wheel imitates the movement of the film through and around the projector’s carousels. What’s projected and the projector are symbiotic. The process is almost alchemical, two mechanical analogues running in parallel with one another, each appearing to be in sync with the other. Here is the process of alchemical transmutation, of one substance transforming into another. And yet there’s nothing remotely mystical about this, what we see is what we get, a silent film of a wheel rotating accompanied by projector’s own sound that just happens to form a shadow of the whirr of a projector. […] While the car is, ostensibly, an object staged as a ‘thing’, Linskey’s film performs an inversion, the compression of real space, folding inside into outside, figure into ground. He folds up a Brompton and places it in the tiny boot of a Smart car. The air is dehumidified. A hand is drawn on a iPhone. We confront these voids on phenomenological terms. The desire remains to produce something that is embodied, that is based on texture rather than structure.
