Key facts about the artist

handclap/punchhole (detail)
handclap/punchhole (2011)

Sources material from Internet forums, YouTube videos, personal emails and anecdotes from friends
London and Glasgow
Jarman Award Shortlist 2013
Resident DJ
Nice'N'Sleazy, Glasgow


About Charlotte's work

Charlotte Prodger’s source material is often culled from social situations including Internet forums, ‘ripped’ YouTube videos, personal e-mails and anecdotes from friends as well as the records that she plays as a DJ. Her work consists of sculpture, moving image, spoken word, printed texts and performance. For each new project she reworks previous themes, images and technical paraphernalia to create a distinct visual language.

Works such as :-* (2011) and Percussion Biface 1–13 (2012) are presented on video monitors. They show ripped YouTube videos of intimate actions involving branded sportswear, for example disembodied feet and hands carefully cutting up brand new trainers. A spoken word voice-over includes, among personal anecdotes, anonymous comments in response to the YouTube videos. These works, which arise out of the shared perspectives of an anonymous Internet community, draw parallels with the forms of the Structural Film movement in artists' film of the 1960s and 70s.

Distance and desire are key themes in the stark physical display of Prodger’s work. Audio and video are played through equipment with its own highly specific technological capacity, design history and subcultural aesthetics, including Hantarex monitors, Sharp® GF777 boom boxes and  Rokit speakers. Vertical forms such as speaker tripods and monitor stands become anthropomorphic in height; supporting technology at the scale of the human body. Separating out these elements spatially enables Prodger to think about them as characters and consider the relationships between them.

In recent works such as Prospex (2013), the line between display and content becomes less distinct. A more explicitly sculptural work, Prospex is constructed of a found image of a man’s wrist wearing a Seiko divers’ watch that Prodger has encased between thick layers of Perspex with circular holes cut through it. Here, the optical nature of Perspex transparent but impenetrable is agitated by the actions of the artist. The gesture of punching through to the image creates a restricted opening into a terrain that is at once familiar and oblique.


Charlotte Prodger (born 1974 in Bournemouth) graduated BA from Goldsmiths College, London in 2001 and MFA from The Glasgow School of Art in 2010. Recent solo exhibitions include Glasgow International (2014), Percussion Biface 1–13, Studio Voltaire, London (2012) and handclap/punchole at Kendall Koppe, Glasgow (2011). She has participated in group exhibitions and performances at: Artists Space, New York; Tramway, Glasgow; Pieter Performance Space, Los Angeles; HOTEL, London; Essex Street, New York; LUX Temporary Gallery, Cologne; Poor Farm, Wisconsin; and LUX Biennial of Moving Images at ICA, London, as well as in Assembly at Tate Britain, London. Prodger’s writing has been published in 2HB and F.R.DAVID. Collaborations include HDHB with Corin Sworn and Fwd: Rock Splits Boys with Isla Leaver-Yap. Prodger was shortlisted for the 2013 Jarman Award. She lives and works in Glasgow.

More information

Isla Leaver-Yap, ‘Re Homos and light’, Mousse Magazine, October 2012

Nicole Yip, ‘In Focus: Charlotte Prodger’, Frieze, issue 153, March 2013

Nicolas Linnert: ‘Charlotte Prodger and Jason Loebs’, Artforum, August 2012