Clare Weeks
CHRONOP: Pathographic Studies
11 April - 3 May 2026
OPENING/MEET THE ARTIST Saturday 11 April, 11am – 5pm ALL WELCOME
ARTIST TALK 6pm TBC
CHRONOP: Pathographic Studies, draws on my lived experience of chronic illness and the tension between being observed as a medical body and understanding myself from the inside. Using performance and video-derived chronophotography, I extract sequential stills from video to trace small shifts and repetitions of the body in motion. Enlarged images are presented on the wall, while selected fragments appear in zip-lock archival bags alongside collected materials, pill packets and fragments of medical language, echoing the ways illness is recorded, stored and lived.
How do you find your subject matter?
My work sits in what I call the shadows of illness. I draw from my own lived experience of chronic disease and the tension between being observed as a medical body and understanding myself from the inside.
What techniques do you use?
I work with performance and video-derived chronophotography to trace the subtle shifts and repetitions of a body in motion. Sequential still images are extracted from video footage, producing echoes and instabilities that recall early motion studies. In installation, I incorporate clinical materials such as zip-lock archival bags to sort, store and fragment these bodily traces.
Who are your influences?
I’m influenced by 19th-century neurological gait studies by Muybridge and Richer, medical archives, and my continued research into autopathography, writing the self through illness.
Artist Biography
Clare Weeks is a photomedia artist whose experimental practice examines illness, identity, and the medicalised body. Drawing on her PhD, “Theatre, autopathography and the medicalised self: imaging health from the shadows of illness” (University of Newcastle, 2020), she creates work that moves between clinical documentation and lived experience.
Her current work uses chronophotography and performance to trace the internal rhythms of chronic illness. By capturing the body in subtle states of motion and vibration, she resists the stillness demanded by medical imaging. Her practice engages with the history of neurological recording while remaining grounded in contemporary lived experience, revealing moments of fragility, endurance, and quiet beauty.