Dominic Till

   We Could Turn The Tides, 2018

We Could Turn The Tides, 2018

Using idioms coupled with a suggestive framework in We Could Turn The Tides, Till looks at how language is used to orchestrate power and the limits of language in the contemporary. Till thinks of idioms as a sign of impotence towards subject matter as they’re used both frequently and flippantly by both the media and political class alike. The piece is designed to be paradoxical in nature, using neon which is typically used commercially, to both highlight and deprecate the offhandedness in which phrases are used. The words that are on display replicate a desire for change but also act as a replication of such a struggle.

   Checkmate, 2018

Checkmate, 2018

Conceived as a broadcast, Checkmate draws on notions of nostalgia from the likes of The Shipping Forecast, and updates them as critique of the everyday in the guise of a nomadic observer. Inspired by Georges Perec’s An Attempt at Exhausting a Place in Paris, Till uses sound and text to form a 6 hour sonic composition that ebbs and flows in and out of abstracted sounds of the surrounding world. Through this, Till places the viewer in a dystopian world that and relays observations of ‘others’ – this looks at, but is not limited to, ideas of what it is to be a ‘millennial’. The outcome that ends each broadcast announcement, which takes place every 15 minutes, attempts to highlight behavioural traits in modernity and the power of language. In doing this, Checkmate also acts as a critique of the way in which we interpret what takes place around us, how much attention we pay to that and our own behaviour as observers.  


An artist whose practice has at its root a preoccupation with language, and observations of everyday life. Till’s work is predominately a sculptural process of layering, which unfolds across a variety of mediums, including sound, sculpture and text. Till is a graduate of the Royal College of Art, London (2017) and has exhibited internationally, as well as being included in the XL Catlin Art Guide in 2016.