STUART LAYTON
Work
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You Never Wash-up after Yourself (2014)
2min 32 Sec, Looping single channel projection, DV.
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You Don't really Know Me At All (2013)
2min 24sec HDV transferred to DVD
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There's Nothing Behind This Gate Worth Dying For (2013)
Digital Video Projection/DVD

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RES///II (2013)
3min 32sec DV/DVD

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The Devil's Haircut (2013)
6min 37sec Digital Video Projection

Other
About
"Stuart Layton’s films originate from a fragment of information. They are paeans to anecdotes, passing comments or passers-by. Using found footage, Layton weaves a narrative rich in humour, pathos and nostalgia. His works begin on a local and intimate scale but ultimately come to represent something more profound and global."
Jane Morrow - Curator Wolverhampton Art Gallery
T: +44 7917851764
e: stuartrlayton@me.com
Tweet: @StuartLayton
Blog: https://stuartrlayton.wordpress.com/
Wednesday afternoons from an armchair in suburbia (Excerpt)
By Rachel Bradley
Driving along the A4036 is to experience a periphery that is contradictorily at the heart of the Black Country; it is a version of suburbia that Stuart Layton knows well. In close proximity to the amorphous out-of-town shopping mall built on the site of the former Merry Hill steelworks, this place is undoubtedly a mixed bag of the old and the new. Interestingly the townscape is relatively untouched by global branding retaining a localised, sustained and successful independent trading system. From social and privately-owned Victorian and 1970s housing stock; shiny sheds accommodating state-of-the-art gyms and gleaming car dealerships; the rarely opened fireworks shop; the Working Men’s Club and Institute Union offering Northern Soul nights and snooker as if the last thirty years never happened; Big Mac’s Café, Balti Bazaar, real ale pubs and rope-tethered horses grazing aside the dual carriageway - this place is not the suburbia of the manicured lawn. The stereotyped view of homogeneity reflects a distortion in the depiction of the suburbs which are often understood in exaggerated terms alternately attacked and defended as overly idealised on the one hand and demonised as embodying the worst aspects of our culture on the other. This polarised vision of utopian and dystopian space are clearly simplistic understandings of an important environment in which over half the population of the UK live their day-to-day lives, away from the cities, yet not marginalised. They may live in the suburbs, but they are digitally connected in the global village. This is a version of suburbia that Stuart Layton occupies, investigates and understands in his video works. For Layton there are no easy choices between the rose-tinted and the miserable.