English video installation artist James Alec Hardy (born 1979, Colchester) was educated at Camberwell College of Arts, London. Sceptical of the ways in which new technology lends itself to the entrapment of minds using specialised propaganda and manipulated suggestion, Hardy creates work that subverts and repurposes old technology. Using obsolete analogue equipment, arrays of monitors are symbolic motifs, simple tribal shapes are interrupted and reconstructed, and video sequences are performative, produced by the physical manipulation of machines. Video acts as a physical and sculptural object rather than a virtual electronic portrayal of image and sound. Immediate and sensitive, it conveys his ideas directly in our age of high video literacy, functioning as the meditative stage for the mind and unravelling its own truth by suggesting that truth and narrative are, ultimately, subjective. Recent solo exhibitions include Aphrodite Lowered her Mirror at Kristin Hjellegjerde Gallery, Berlin (2018), Some Things are Clearer in The Dark at Kristin Hjellegjerde Gallery (2017), Totems of the Eclipse Maximum, Artmoor House, London (2017), Modular 1304, ArtMoorHouse, London (2013), Trapped in the Machine, The Hospital Club, London (2013), and Decadia Broadcast System, Home Front, London (2012), while group exhibitions include Asemic, Kristin Hjellegjerde Gallery (2015), No Alarms and No Surprises, Ritter/Zamet, London (2015), Mackerel Sky, Whitechapel, London (2015), Oscillate Wildly, South Kiosk, London (2014), and James Alec Hardy Dominic Beattie, The Depot Gallery, London (2013). Hardy lives and works in London.