Made using 3d printing technologies and traditional hand sewn millinery techniques this 200+ luscious but jarring velvet and copper wire brain sculptures will be organised into strange formations or ‘brain gardens’ where the viewer can enjoy a surreal potter through an unnerving ‘flower’ show, stepping gingerly between wire roots and dense brain beds. 

These are depictions of an organ that represents the absolute core of our being as humans, reduced to the status of ornamental grouping, luxurious simulations – an unsettling velvet iteration.

Jo’s 90


A 90 minute film inspired by science fiction narratives whereby vast swaths of knowledge can be immediately learned from connection to a computer. The film records the artist wearing a 1960’s hairdryer hood in 90 separate locations with a voiceover describing 90 ‘facts’. The hairdryers, formerly used for the creation of beauty are re-purposed as objects within which to imagine connections, absorb facts and shield from harm like ridiculous crash helmets but with the added power to generate new thoughts and understanding.

A Brick That Came Through the Window in the Dead of Night


Scripted via AI technology using a process whereby heartbreaking, personal texts (via loved ones affected by brain disorders) are inputted to a GPT3 programme so that the computer writes new narratives thus connecting human emotion to the computer’s data ethnography to imagine how machine generated texts can be interpreted as ‘emotional’ responses. Made using1950’s found home movie footage, a computer-generated narration, and the absurd prevalence of an animated ‘sinister’ coloured brick.



The film melds connecting stories of a garden, a piece of carpet, a pair of black patent boots and how what lays under our feet is as important as what happens in our heads. The narrative text focuses on a woman’s last standing place interwoven with information about connectivity within the natural world. 



An animated brain that changes colour imperceptibly, shown as a large projection, has augmented reality built in so that an audience can watch in real life and through their phones (using Artivive). As the audience lay back in the dark comfort of their bean bags their phones display text that describes unhinged notions of mediated connections, anthropomorphic notions of the machine, and the weirdness of transhumanism. 

We Will Never As Humans Be Able To See 360°

We Will Never As Humans Be Able To See 360° (2016 – updated 2019)  3 copper domes lined with red velvet w 100cm, d 100cm h 200cm, OSVR headsets, Windows based VR ready PC’s, scaffolding, sound.

Stick your head in a copper dome and be transported into virtual worlds that display a post-truth mix of disconnected information, actions without conclusion, frustration, confusion and manufactured associations, wonderment, desire and manipulation of sequential understanding.

The project We Will Never As Humans Be Able To See 360° merges Clements’ sculptural structures with virtual reality to create multi-layered, immersive, sensory environments. Artists Sam Ingleson and Steve Oliver were commissioned by Clements to create new digital content specifically for the project.

This project would not have been possible without the unwavering support and expertise of Alasdair Swenson. For this project Swenson sourced and built the necessary hardware and developed the artworks using the Unreal Engine.

Images from exhibition at the Ridings shopping Centre Wakefield supported by a micro-commission from Axisweb and shown during Wakefield Artwalk 30th January 2019.

Accompanying film by Maria Ruban

Unit For

Unit For (2018) single channel video, run time 00:06:19, color, sound.


‘Unit For’ (2018) comprises a series of images, text and accompanying soundtrack that describes myself and artist Sara Bradbury’s three week occupation of an industrial space – made available for artists to develop, show and produce work in – and our developing relationship with a homeless woman sleeping in the doorway. 

The film exposes the raw beginnings of our thought processes, half made work and abandoned ideas wrought within an increasingly unsettling atmosphere. Its format deliberately echoes the simplicity of a presentation or the ubiquitous low-tech social media ‘info-docs’ that depict second hand experiences through diluted or partial representations of complex situations designed to feed off of or stimulate emotional responses.

This work questions the artists’ role within an environment of conspicuous poverty and an increasingly middle class art world that is in danger of becoming insular and self-serving. I wanted to question the relationship between artwork, societal situations within which art is produced and the notion of artistic privilege. This wasn’t a game. We were not artists working in isolation in an ivory tower imbued with gifted foresight or some out-dated myth of genius. We were as visible to the woman outside as she was to us. We affected each other. This is what happened in that space.

Don’t Be Afraid To Lay On The Art

Don’t Be Afraid To Lay On The Art (2018) camping mattress, pillow, felt cover, sound.

Viewers are invited to come on into the gallery and lay on the art; place your head on the pillow, get comfy and listen to the sounds of the original Atari video game Pong. Look through the window of the gallery, towards the homeless, spaceless, disenfranchised and disinterested, the rich, the privileged and the spoiled. What games are being played, who gets to be comfortable, how does art fit into what can be seen, unseen and ignored, what are we afraid of doing, what do we have to lose and what does it mean to win? 

Drag Venn Fed

Drag Venn Fed (2017)

Glittered wooden hoops, plastic coated fabric, false nipple, sound. 4cm x135cm x90cm

Drag Venn Fed continues Clements’ experimentations that display or voice disparate information as if connected – in this case how we are fed information regarding gender, sexuality and relationships from an early age; specifically concentrating on a mixture of truths, falsities and the ways in which we make connections based on this information to form personal Venn diagrams of understanding.

A hidden speaker whispers worn phrases, familiar descriptions and disconcerting messages. The sound can only be experienced by placing an ear close to the center of the piece – through the false transvestites nipple. 


This is the Difference Between Evidence and Belief

This is the Difference Between Evidence and Belief (2016)

Single Channel short film

Run time 9:02 Colour, silent

An animated version of Cinderella plays behind a series of tweeted phrases whose random sequence entices false connections and narratives.

The animation runs backwards in direct reference to a twitter user who described herself as being the epitome of allerednic syndrome (i.e. Cinderella spelt backwards,) thus feeding into my fascination with the proliferation of selectively edited personal information, manipulated identities and exaggerated experience.

the film can be viewed at https://vimeo.com/168906423

100 Adapted Orphans

100 Adapted Orphans (2016) L45cm x W35.5cm x H19cm. Bamboo block, wire rope, 100 index cards, 100 QR Codes connecting to 100 short films made by the artist.

Shortlisted for the Greater Manchester Art Prize 2016

Short, ambiguous poetic statements and re-appropriated film clips make up the work 100 Adapted Orphans. Experienced via a ‘sculptural archive’ 100 QR codes printed onto 100 index cards are linked to 100 short films accessed via mobile phone QR code readers. The films display a brutal honesty exploiting Clements’ struggles with, and notions of, grief, love, relationships and how a mediated, constructed memory of all of these emotions can disrupt our perception of abstracted experiences. Disjointed spoken narratives, construct an incomplete relationship between real situations, individuals, theories and movements. The turbulent, questioning nature of each film’s narrative contrasts with the clean lines of the sculpture which suggest logic, neatness and order. Audiences are invited to experience this archive of emotional responses by leafing through the cards, accessing the films in a random order. The presentation reflects Clements’ ongoing exploration of alternative ways of experiencing disjointed information through moving image work.

The films were sourced and then adapted from online moving image archives and respond to Clements’ ongoing research into the relationships between original intent/provenance, digital consumer/object, copyright, and the resulting implications/tensions for the re-appropriation of archival materials.

The film clips and texts also provide content for the 75 minute film, 100 Adapted Orphans : Remixed shown at Bury Museum and Art Gallery as part of the exhibition, Jo Clements : Retrospective Nov 2015 -Feb 2016.

The full film can be viewed here https://vimeo.com/140042510

Obey On Kawara (you’re my only hope)

Obey On Kawara (you’re my only hope)(2016) Single channel video, 60 minutes, b/w, sound.

Part of the group exhibition Early Warning, curated by Mark Devereux projects at &Model Gallery | Leeds | UK
16 March – 2 April 2016

The time frame of an hour, the duration of the film, refers to the typical length of time that TV programmes are allocated and the notion that viewers concentration is trained to conform to this time frame. Outside of this lays TV’s predictable repetition, boredom and the associated passing of time alongside the existential propositions relating to time explored by the conceptual artist On Kawara.

I recorded my self chanting ‘On Kawara’ mimicking mantras used for purposes of centredness and meditation or, conversely, methods of persuasion through repetition or brainwashing techniques – the ‘force’ of On Kawara.

I want to add some humor to the weight of conceptual art history felt by contemporary artists whilst acknowledging that the acquisition of influences for making new contemporary artwork is both fragmented and complex.

All This Happened

All This Happened (2015) 5 channel video, colour, silent, duration 6:10 minutes, looped

The work comprises 5 silent animated films each depicting different diagramatic representations of analogue colour refractions.  Short texts punctuate simple imagery that together suggest complex relationships between what we see and what we understand.

Moving images are interspersed with short bursts of ambiguous text that could refer to the images displayed or to more contemporary issues. Clements’ use of texts injects verisimilitude through narrative chinks that suggest rather than state directives. Each film’s duration is 6 minutes and ends with the same phrase – ‘Boundaries Dissolve Without Warning’ – displayed across the 5 screens before starting again.

Commissioned for Bury Light night 2016

Caught Mapping

Caught Mapping (2013) Single channel video, runtime 5:36 (colour, sound)

A short film using only re appropriated images and words. 

A montage of beautiful, strange and intriguing found ephemeral footage is projected alongside a voice-over that discusses complex and contested theories of appropriation and plagiarism.  The work explores issues of originality, authorship and ownership.


Resuscitation (2011)

Exhibition at Camille Claudel Hall, Clermont-Ferrand, France 2011.

Installation, film projection, objects, text, images.

Film: Runtime: 13.34 mins B&W (with audio)

‘Resuscitation’ was inspired by ‘Experiments in the Revival of Organisms’ made in 1940 by the Soviet Film Agency.  It records and demonstrates the apparent successful resuscitation of a dog’s severed head as conducted by Dr. S.S Bryukhonenko at the Institute of Experimental Physiology and Therapy, USSR. It is unclear whether the film is a work of fact or fiction. Nonetheless the impact of its contents are both shocking and compelling. The film is projected alongside objects of early medical equipment, text and images to create a fictional narrative which alters the reading of the film, raising questions of influence, authenticity and manipulation of fact.





Showing website descriptions of unseen, archived, ephemeral films my aim is to explore inter relationships between the described and the hidden, object and text. Influenced by Barthes notion that ‘writing is the destruction of every voice’ the work seeks to highlight the wobbliness of imaginative responses to dry, mechanical texts.

Viewers are invited to kneel on cushions and read the texts in front of lamps, set on timers, that may switch off at any moment; a reference to the unstable medium of the original film stocks and difficulties of public access for viewing films hidden in archives.

With thanks to the Huntley Film Archives.

Process For Time Out

Process For Time Out (2008) Film Runtime: 1:47 (Colour, sound)

A short, quite ridiculous, odd little film that I made as a way to illustrate how systems of chance and indeterminacy can be utilised to make new artworks – in this case my film Time Out. 

Words re-appropriated from the essay by Lily Diaz ‘By chance, randomness and indeterminacy methods in art and design’, Journal of Visual Art Practice, Volume 10 Number 1

Time Out

Time Out (2008)

Film b/w, silent 4:11

The work Time Out fulfils my desire to disrupt poe faced narratives through the altering of original moving image – in this case a social guidance film that was produced to convince the US population in the 1960’s to exert some control over their emotional state in order to avoid an accident.

Conversely, the film was made using cold unemotional systems that embraced indeterminacy and randomness with an aim to create an alternative, non-linear narrative.



L over

L over (2001)

single channel video, colour, silent 3:34mins

‘Not everybody’s looking at the same place at the same time’.

Penn Jillette (Penn and Teller)

In this short film a professional magician is filmed teaching a group of male enthusiasts a series of tricks using a set of playing cards. There is no sound. His dialogue is subtitled and the film has been slowed down slightly. Despite the subtitles and slow-frame of the magicians actions, which should aid the learning process, the viewer finds the logistics of watching and doing without verbal instruction both difficult and confusing.

Filmed on the QE2 funded by Arts council England 2001

In memory of  Trevor Lewis, Magician.


ESCAPE (2004) single channel film, colour, sound run time: 00:9:16

An escapologist’s act, usually reserved for a live audience is performed and filmed alone, high above the city on a balcony in downtown Manhattan.  The sequence of action is continuous, the frames slowed down and without sound. The escape switches from forwards to reverse in a seamless shift that always ends up at the same point only to repeat the same fruitless action. Time is irrelevant as the repeated patterns of restraint and constraint deny any possibility of diversification or development.

Habit, obsession, repetition and restraint are all explored in one man’s struggle to escape from a straightjacket.







Exhibition views from Solo show at Mid-Pennine Gallery, Burnley Lancs, 2004

Installation, Film Projection (Escape), Lightboxes, 

In August 2001, Clements funded by Arts Council England attended The Queen Elizabeth II – Lucky Magic Cruise, a magicians’ conference on the QE2 travelling from New York to Southampton over 6 days. Observer and participant, Clements sought to gain a greater understanding and be inspired by their art, showmanship and sleight of hand.