The Horizon Plays Itself Back Into Being - Animation with sound, 4 mins 44 Secs, 2020
I Presume You Pictured It Differently - Buttermilk, glass, polyester and graphite, image detail from solo exhibition at SEA foundation, Tilburg, 2019
Tests on Previsualisation. Tests on Dredging. Tests on Floaters. - Image of solo exhibition, Two Queens, Leicester, 2019. The exhibition was part of an ongoing body of research into acts of dredging (bringing something deeply deposited towards a surface) previsualization (creating a visual plan in order to arrange a structure for the future ) and floaters (things that appear unexpectedly). Rayner utilizes labor-intensive, hand-drawn stop motion animations consisting of up to 900 drawings, utilizing the methodology of animation to allow the construction of fictional narratives in an attempt to approximate a sense of reality. The works move tonally towards soft-core science fiction, in pursuit of a state of weirdness: a disconnection of understanding, coupled with stabilizing scenarios - gut bacteria is figured as a form of mind control, the artist attempts to visually preview scenarios in order to do the future-self a 'solid' by predicting obstacles and self-fulfilling cycles. Through these works, the artist attempts to look through an un-reality to something that is close to the experience of anxiousness about the future.
You Do Not Need To Say Anything Back (But You Do Say Something Back Which I Hear By The Way I Speak To You) - Experimental animation, 2mins 14 secs, 2019
Are you with me or have I lost you? - 4 screen film installation, steel, PVC, buttermilk, matt 75 polyster paper, magnets, pencil, image of exhibition Tripping Autonomy at De Kroon, Rotterdam, 2018 Are you with me or have I lost you was composed of a number of works produced over 6 months including film, animation, drawing and sculpture, through which the reader is asked to directly address whether the promise of having their attention held through various explorations of rhetoric around phenomenology has been delivered by the author. I am interested in how long the promise interest holds before it expires. These works see the removal of topic as a placeholder, in what is a temporal continuum (due to the continuous looping present in all the works), which should not be considered a story or a topic, but a soft-core science fiction. The voice of this genre is sculpted in pursuit of drawing out a state of wierdness (which is understood to mean a disconnection of understanding coupled with stabilizing scenarios) I acknowledge that the statement, that's uncomfortable, lets look at it closer, holds a subtle but motivating position within the question, Are you with me or have I lost you? Where the thing that is repellant can also be the thing that fascinates: Asking are you willing to come with me?
Reading Plumbing as Partners (it all comes back to romance) - Pencil on post-it, modelling board, desk lamp and plastic container, 2017.
Playing with the idea of ‘matter husbandry’, and using Dominique Laporte’s History of Shit, as a starting point, the work delves into both the present and potentials for a better relationship waste and a romanticism of the history, language and phenomenology that is attached to waster removal, control and organisation.
Everything Ever Fatberg - Film work, image of exhibition at MIR, Rotterdam, 2017. The film presents as an unblocking of obsessional research which sees fatbergs as the subject holder, container of compiled niche knowledge and topic in the process of being exorcised from an artistic practice. The narrational voice of a maniacal informer regurgitates a mass of research that is interconnected with fatbergs and the systems that have created them.
Micronational Type - Artist Publication, colour risograph, saddle stitch, 168 x 230 mm, 10pp, first edition of 50. Using interview's with a number of micronationalists (Recently imagined communities that are not acknowledged by governments or governing bodies) and through the potentials of online forums, I identified the three main definitives of micronational organizations and their conduct over their own or imagined lands. Through this narrative, I played out the potentials of how different micronational identities may present, co-exist as both interdependent and sovereign states; and might be understood by outsiders of this particular mode of world-making
How Slowly Glue Dries - Artist Publication, Single-color risograph, saddle stitch, 148 x 210 mm, 16pp, first edition of 100, 2015. The publication was formed around a series of interviews conducted with three insular hobbyist organizations: model-rail enthusiasts, micronationalist and drone builders. Each with a similar ethos centred around sharing knowledge, tools and forms of community learning, they also shared some form of threat to their future and developments. I constructed a narrative around the difficulties in dynamics and economies raised within each, imaging a scenario where they were all able to meet and discuss their situations and their relationships to the term 'hobby'.
