Mathew Wayne Parkin

Hospitalfield Summer Residency 2019

During this residency, I explored the haunted house as a metaphor for the queer body—investigating what it means to have a body and be seen. I used endoscopes and inspection cameras to consider surveillance, medical penetration, and horror film aesthetics. Reading played a central role in shaping this research, which focused on how sound and moving image can articulate queer embodiment and haunted space.

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A white table holds a black keyboard, Anker wireless mouse, stacked electronic devices—including a hard drive and camcorder—and tangled black cables. A small white lamp and a clear vase with light purple flowers sit nearby. The table surface shows weathered off-white patches.
35mm photograph of a white iphone balanced on a red metal fence above a stone ledge, filming the sea and horizon line, which can be seen on the phones screen and out of focus behind the scene.
A clear glass vase on a weathered metal table holds wildflowers—lavender, white daisies, and a red poppy. A roll of masking tape and some printed paper peek out nearby. Cardboard boxes sit beneath the table against pale walls and a dark floor.
A light gray textured wall forms the background. On a gray table, a white clamp lamp and a clear vase hold purple flowers. Nearby are an orange-tan object, a dark gray notebook, and black cords connecting to a keyboard, mouse, and partial computer equipment. A wooden piece and a twisted green cord on the wall complete the scene.
An antique white windowsill holds a loose bouquet of pink and white daisies in a brown beer bottle. A small black device sits nearby. Through the window, a metal mesh fence, rocks, and a brown wall are visible. A pair of small dark scissors rests faintly to the right.
A person sits on grass holding a red can. Beside them, a stack of text-filled papers topped with pink round glasses rests on the ground. In the background, a garden with green plants, trellises, and white wildflowers is visible.