A performance to camera of Tina Keane swinging. An image of ‘she’ from girlhood to womanhood. Based on a performance at the Serpentine Gallery in the same year, the motion of the swing sets a tempo for a repeating image that gradually transforms over time. Utilising the self-reflexive quality of new video technology, the work reflects a feminist idea of radical change in which the image of ‘she’ or ‘her’ needs also to be radically altered.  

Tina Keane

Born 1948. Tina Keane studied at Hammersmith College of Art and Sir John Cass School of Art (1967-70). Since the 1970s she has worked in a wide variety of media, ranging from performance and installation to film, video, digital technologies and neon sculpture. An influential and consistently inventive artist, she is a leading exponent of media installation work who responds to a physical space and constructs her work around the use of light using video monitors and neon, “opening up a dialogue between the perceptions of the viewer and the work itself” (Art Monthly).

Keane’s work has been exhibited and screened both nationally and internationally, and she has won awards from the Arts Council, Channel 4, the British Council and London Production Board. She was Lecturer in Film & Video at Central St Martin’s College of Art from 1982-2012 where her students included Sandra Lahire and Isaac Julien. Keane was also a Research Fellow at St Martin’s over the past decade, focused on the internet and digital creativity.


Transposition (2004), Beirut Change and No Change (2003), Ghost Train (2002), The Making of Dandy Dust (2001), 9 Frames per Second (2000), Altered Space (1999), Couch (1998-2003), Vampire Virus (1997), Deviant Beauty (1996), Beyond the Blue Grain (1996), Caution X Ray (1994), Neon Diver (1990), Faded Wallpaper (1988), Hopscotch (1986), Media Snake (1985), In Our Hands, Greenham (1984), Demolition/ Escape (1983), Hey Mack (1982), Bedtime Story (1982), Clapping Songs (1981)

installation, Shadow of a Journey (1980), Playpen (1979), The Swing (1978)