This work is part of the rewind archive.
Duration: Lineman Cut Version, 90minsOriginal Version 5 episodes x 20mins (approx)
Year: 1990-1995Original formats:
3/4" U-Matic Hi BandType of work:
Funding source: Scottish Arts Council, Self and Duncan of Jordanstone College of Art facilities
First exhibited: 1993 Episode 1, World Wide Video Festival, Netherlands
Technical details: Incorporates computer animation with live action
The principle plot centres around the buzzing commentary of the adolescent BoyDriver, a child of the computer game generation, and his journey and rite-of-passage through a country too small to make a road movie in – even if you drive slowly. His objective is to seek out the unseen and unknown character called Frank.
As much a joy ride through the imagination as a road movie through a real place, the BoyDriver’s commentary (heard only in voice over) directs us through his thoughts, feelings, memories, passions and regrets. During these statements he also interacts with characters from films he sees on his Watchman (Michael Caine, Albert Finney, Cliff Richard), and his journey is further interlaced with a series of evermore bizarre encounters, surreal observations and experiences of good and evil and light and dark things.
Ranging from the comical to the despairing, this multi-levelled narrative is further developed and subverted by the interventions of a private radio DJ (The Voice of Reason on Radio P.A.S.S.I.O.N,) and a hard selling techno cowboy, (The Man from GeeBees) seen through a series of adverts promoting dodgy goods from his ‘hyper-megalistic-expo theme store’.
From a council house bedroom to the open road, we find ourselves the passenger of the BoyDriver, travelling on a journey as much virtual as actual, encountering head on the head-up display of dreams and nightmares, love, and the techno-fear and loathing that exists in the late twentieth century.
Sourced from Doug Aubrey’s personal archives.
‘In Praise of a poor cinema’, Colin McArthur asks ‘What kind of cinema should a country such as Scotland support?’, Sight and Sound magazine. Includes information on funding issues for ‘Work, Rest and Play’.pdf here
Leaflet to coincide with the screening of Pictorial Heroes’ Work, Rest and Play Episodes 1, 2 and 3 (1988 – 1993), at CCA. Glasgow 1994. pdf here
Catalogue from the World Wide Video Festival, The Netherlands, 1993, includes Pictorial Heroes’, Work, Rest and Play, Episode 1.pdf here
Catalogue for The Worldwide Video Festival Catalogue, 1996, includes information on Pictorial Heroes’ Work, Rest and Play Episodes 4 and 5.pdf here
Section on ‘Work, Rest and Play’ in booklet for the ‘Ninth Fringe Film and Video Festival’, 1993.pdf here
‘Work, Rest and Play’ advert in London Film Festival Guide. pdf here
‘Work, Rest and Play’ screening advertised in Digital Arts and Multimedia Festival Guide. pdf here
Work, Rest and Play screening advertised in Video Positive 93 guide. pdf here
Work, Rest and Play episodes 1, 2 and 3 in the 1994 World Wide Video Festival Catalogue. pdf here
1993 London Film Festival Leaflet, featuring Work, Rest and Play. pdf here
Poster for ‘work rest & play’.pdf here
‘In Praise of a poor cinema’, Colin McArthur asks ‘What kind of cinema should a country such as Scotland support?’, Sight and Sound magazine. Includes information on funding issues for ‘Work, Rest and Play’