The Wind From Nowhere, (video still, 2016)
Somerset House Studios resident

Seth Pimlott

Artist and filmmaker.

Somerset House Studios
New Wing

Seth Pimlott makes experimental narrative films that he develops through a workshop process. The workshops themselves involve creatively engaging with the concerns of the individual or group he works with, and place faith in the power of the imagination to master one’s own narrative. Working with a mix of amateurs and professionals, this collective spirit of making results in films that are more than the sum of their parts, creating a community for which the film is meaningful, to which the film belongs, and that it represents.


After graduating from the RCA (MA Sculpture), he was the inaugural participatory artist in residence at Gasworks from 2016-2018. His recent project with Whitechapel Gallery resulted in a solo exhibition in galleries 5&6. His work has also been featured recently in exhibitions such as This is Water at MIMA, Middlesborough, and screened at festivals including Experiments in Cinema selected by Cauleen Smith in Alburquerque, and Crossroads Festival at the San Francisco Museum of Modern Art (all 2018). He was selected for Bloomberg New Contemporaries 2017/18, which exhibited at BALTIC, Newcastle and Block 336, London, and received the Pete Lloyd Lewis Award from Chisenhale Art Place in 2016. He is currently working on a project with the Serpentine Gallery.


During the residency, Seth will be finishing an operatic film supported by Gasworks, designing an experimental programme with the Serpentine Gallery’s education department, as well as developing new branches of his artistic practice.

“Seth Pimlott’s 'Season of Doubt' employs the outdated filter of 16mm film in order to reposition contemporary footage taken from the 2014 protests in Ferguson, which unfolded from the fatal shooting of black teenager Michael Brown by a white male officer. Using techniques of masking and in-camera collage the video merges a dissolving portrait of singer Ladan Hussein with mobile-phone footage of the protests.

As Hussein’s visage flickers between an anonymous mask and the details of her features, her mouth creates a persistent, moving whole in the black and white images which resemble history but are in reality less than four years old,”

Kathryn Lloyd, Art Monthly (February 2018)