Dark Circles (2022) is an essay, of sorts, about the deep weirdness of being Anglo-Indian. It takes the form of an installation (archive video, spoken word, field recordings, ephemera, works on paper, haunted waiting room) exploring Anglo-Indian identity, a sort of uncomfortable by-product of the Empire, simultaneously privileged and marginalised within it. Its focus is three performers of Anglo-Indian heritage: Merle Oberon, Cuckoo Moray and Helen, who were able to negotiate a path to success through their ambiguous identity. It was commissioned as part of the Jerwood Arts x FACT Fellowship, which I received in 2020, and developed as part of that residency in 2021.
It’s now showing in Let The Song Hold Us at FACT Liverpool, until 19 June 2022.
Massive thanks to the team at FACT who were amazing start to finish, and to everyone who’s been to see it.
Some selected press:
The Guardian ****
At the heart of it is archive video of Cuckoo, Merle and Helen, and a new audio work: a text by me, with sounds/field recordings/samples produced by the excellent Gus Bousfield. There’s a transcript of the script on the FACT website.
And here’s some installation pictures.
Tessa Norton, Dark Circles (2022). Commissioned by and developed in residency at FACT as part of the Jerwood Arts / FACT Digital Fellowship, supported by Jerwood Arts. Supported with funds from Arts Council England and Liverpool City Council. Installation view at FACT. Images by Rob Battersby.