2026, phytogram on microfiche, lightpanels, 960 x 680mm.
The chaotic chemistry of microfilm and Arundo donax (Giant Reed), an energetic plant known as both an aggressive colonizer of freshwater and a purifying filter for contaminated water. Part of Griffiths’ current work combining botanical developers and archival photomedia as a lens to observe plant agency.
Installation view: Soft Proof, Rogue Studios, Manchester.
2022, 1:00 min video loop, lightbox. Commissioned by Salad, for A Modest Show (British Art Show 9).
Depicting the inscription of a Roman numeral onto a whale vertebra, the film critiques speculative digital currency. It contrasts the material permanence of a biological relic against ephemeral crypto-assets, reframing the token as a tangible, laboured tally of time.
2022, 1:00 min video loop, lightbox. Commissioned by Salad, for A Modest Show (British Art Show 9).
Depicting the inscription of a Roman numeral onto a whale vertebra, the film critiques speculative digital currency. It contrasts the material permanence of a biological relic against ephemeral crypto-assets, reframing the token as a tangible, laboured tally of time.
2016, 35mm microfilm collage and reader, 350 x 400 x 350mm. Commissioned by Arts Catalyst and Z33 House for Contemporary Arts.
A zine documenting HADES underground research lab in Belgium. Assembling photographs, cartoons, poetry, and interviews with scientists and local activists, it maps research into deep-time radioactive-waste disposal as a durable, analogue remembrance artifact for far-future readers.
Installation view: Perpetual Uncertainty - Art in the Nuclear Anthropocene, Bildmuseet, Umeå, Sweden.
2015, 35mm microfilm collage & reader, 350 x 400 x 350mm. Commissioned by Centre for Archaeology, funded by Rothschild Foundation.
Created with forensic archaeologist Dr Caroline Sturdy Colls, this microfilm zine re-frames excavation data from Treblinka extermination camp as a layered miniature map of trench finds, prompting viewers to optically uncompress historical evidence.
2015, 35mm microfilm collage & reader, 350 x 400 x 350mm. Commissioned by Centre for Archaeology, funded by Rothschild Foundation.
Created with forensic archaeologist Dr Caroline Sturdy Colls, this microfilm zine re-frames excavation data from Treblinka extermination camp as a layered miniature map of trench finds, prompting viewers to optically uncompress historical evidence.
2015, 35mm filmstrip performance, 240 mins.
Projecting an archive of vintage geography filmstrips across multiple screens, this durational performance observes 20th-century visions of globalised trade and labour, examining how colonial geopolitical narratives are constructed and transmitted through institutional media.
2014, geotagged photocollages, online API hack. Commissioned by Full Circle Arts.
Probing Ordos-Kangbashi, a sparsely populated 'ghost city' in Inner Mongolia. Viewers zoom through dense snapshots of neon sprawl amid the ancient steppe, to observe a cityscape at the onset of economic acceleration.
2013, microfiche 148 x 105mm, audio recordings. Commissioned by Lincoln School of Art.
An expanded photograph documenting the satellite detection of a 300-millisecond gamma-ray burst. Created with a team of X-ray astronomers, it combines data, images and sound of NASA teleconferences and laboratories, to observe how technical instruments archive deep-time cosmic cataclysms.
2013, vinyl & E6 film, 4800 x 1800 mm. Commissioned by Phoenix Square, Leicester, with support by Castlefield Gallery.
Drawing on an index of 1,900 cinema reel changeovers, this 12-month window installation maps Griffiths' cue-dot catalogue against the imagined spacetime occurrence of gamma-ray bursts. Viewers inspect tiny embedded images using magnifiers, enacting the durational observation and speculation inherent to both astronomy and cinema.