Each 360˚ panorama, produced by Moorland Productions (Ken & Seetha) for the 50th Venice Biennale - "RADAR Project: Connecting Europe" - is printed on plastic laminated paper or plastic laminate. They were created using c 300 individual photographs later collaged together, pixel by pixel in Photoshop, _not_ using automated software. They are thus extremely detailed - our signatures are 'hidden' as graffiti within the image - and there are many concealed elements which can only be seen on close inspection. Each panorama allegorises some aspect of contemporary Venice: "Water" deals with over-tourism and over-fishing, two inter-related problems, created by, and affecting, each other.

Thwe Four Elements: Water

This work was produced with Seetha A, my partner in Moorland Productions ([www.moorland-productions.org](http://www.moorland-productions.org)) creative collaboration during a five week funded residency at The Banff Centre for Arts & Creativity in 2023.

The thematic workshop explored tea culture, which we had previously worked on for the Venice Biennale in 1995 (Transculture Pavilion/Japan Foundation). The series features individual peaks of the Rocky Mountains near Banff. Seetha associates climbing mountains in Germany with the reward of a coffee and cake on the summit. The Banff Centre has fabulous chefs, and especially pastry chefs for its residents, so we combined some of the spectacular Rocky Mountain scenery with the equally spectacular confectionary mountains created by the chefs.

Catalogue on-line: [https://www.mixbook.com/photo-books/interests/moorland-productions-at-banff-33507773?vk=oKNzCjQi6J1RXnz2Zj2u](https://www.mixbook.com/photo-books/interests/moorland-productions-at-banff-33507773?vk=oKNzCjQi6J1RXnz2Zj2u)

Meeting for Teas: Cake Mountain (Rundle)

A series of artworks dealing with surveillance and social control created by Moorland Productions (Seetha A & Kenneth Hay) in collaboration. The images are based on RFID chips used to control merchandise and prevent theft, whose forms also resemble labyrinths, sports arenas or Japanese zen gardens. The hand-painting processes involved in their making also require mind and hand control, and their look also reflects US abstraction from the 1940s to 1980s. The Zircon Blue in the title refers to two tiny circles of pigment forming part of the computer chip at the base, made with metalised acrylic containing zircon, which add a subtle note of glitter to the painting. The paintings can be seen as allegories of a mindset which wants to track and control everything...

CM_021_Zircon Blue

One of a series of digital collages produced with Seetha A (as 'Moorland Productions), during a five-week funded residency at the Banff Centre for Arts & Creativity, Alberta, Canada in 2023. The prints celebrate the different national contributions to tea culture in Canada. Each print is comprised of several layers, symbolising the topography, flora/fauna/human and specific tea culture of each nation. A QR code links to a soundtrack relating to the specific national culture involved.

Currently on show in Taiwan, Taoyuan City Arts Museum, "Global Elite Invited Art Exhibition" (1-30 April 2026)

Meeting for Teas: China

One of a series of floral depictions concentrating on clear drawing, pure colour and bright light. The flowers are seen close up against a shaded background, in bright sunlight. Although apparently three dimensional, the image is made up of sharply delineated planes of colour/light which are equally flat. The illusion of depth comes when the colours and tones are observed in clear relationship with each other. The structure of the bloom is rather like an upturned candelabra and I was thinking of such items in Vermeer and Van Eyck's paintings - how the artist articulated a complex, circular form with many protrusions and delicate strands in three dimensional space, on the flat surface of the canvas. This painting has been exhibited in Tokyo (Tokyo International Art Fair 2020), Miami Art Fair, New York Art Fair, Paris (Caroussel du Louvre), Lisbon Art Fair, Milan Museum of Science and Art, and won the International Donatello Prize for painting in Florence (2023).

Agapanthus

If Modernism and contemporary consumerism are obsessed with authenticity, Postmodernism is more sceptical, and feels free to playfully mix and match styles and cultures. Here two figures, taken from a Babylonian granite carving in the British Museum, meet bearing official staffs, outside the Ishtar Gate (now in Berlin). The past is made of fragments, now scattered all over the world. Understanding history takes time and patience. These works are made in collaboration with Seetha A and when we work together we use the name Moorland Productions. The signature (MP) and date ('23) are written in Babylonian script. We have co-authored works for over 30 years and recently had a major retrospective in Florianópolis, Brazil (2023). There is an article about our collaboration on [Academia.edu](http://Academia.edu): [https://www.academia.edu/44380207/Distributed\_Art\_Practice\_Artistic\_Networking\_in\_the\_Digital\_Age](https://www.academia.edu/44380207/Distributed_Art_Practice_Artistic_Networking_in_the_Digital_Age)

The Conversation, Babylon

If Modernism and contemporary consumerism are obsessed with authenticity, Postmodernism is more sceptical, and feels free to playfully mix and match styles and cultures. The past is made of fragments, now scattered all over the world. Understanding history takes time and patience. Future art historians with plenty of time on their hands will be able to decipher the inscription in the central cartouche (Spoiler: It says, in hieroglyphs, "Seetha & Ken made this picture"). The vertical inscription on the left reads " Moorland Productions", the name we use when collaborating. We have co-authored works for over 30 years and recently had a major retrospective in Florianópolis, Brazil (2023). This work has been exhibited at the Carrousel du Louvre, Venice ("It's Liquid") and London (Hoxton). There is an article about our collaboration on [Academia.edu](http://Academia.edu): [https://www.academia.edu/44380207/Distributed\_Art\_Practice\_Artistic\_Networking\_in\_the\_Digital\_Age](https://www.academia.edu/44380207/Distributed_Art_Practice_Artistic_Networking_in_the_Digital_Age)

Nefertiti

If Modernism and contemporary consumerism are obsessed with authenticity, Postmodernism is more sceptical, and feels free to playfully mix and match styles and cultures. A photo-realist Geisha, standing in a Hiroshige landscape against a sky filled with 18th-century kimono-style decorative clouds mixes three visual 'languages' in the same image. Like Derrida's "Glas" we can still understand a 'text' even if it is written in three different styles (or directions in his case).

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