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Tina Keane
Describing Tina Keane as a 'video artist' alludes to the medium she has most consistently used but tells little about the nature of her practice.

In fact such categorisations impoverish not only the art work itself but its links with contemporary life and reality. Tina Keane's presentations range from images on a single screen to installations of monitors dispersed in space combined with other elements producing light, movement and sound. They represent, in one sense, the seizing of poetic possibilities in an information-laden environment where the 'screen' takes every kind of shape and form, from domestic TV to surveillance monitors, from hand-held gameboys to the great public screens in city centres, airports and sports arenas. In fact a single theme in Tina Keane's work can sometimes be traced across such a spectrum of formats. This is the case with the theme of the diver and the pool. It has appeared in the form of a single screen video (Neon Diver, 1990), as an installation (Diver, Stoke on Trent City Museum and Art Gallery, 1987), and as a giant hoarding on the Spectacolour screen at Piccadilly Circus (Circus Diver, 1989).

For Tina Keane, "the pool is a metaphor for Identity, Pleasure and Voyeurism". Growing out of the water/electronic energy symbiosis of early works like Shadow of a Journey, the diver theme, in the artist's words, portrays women's bodies as a source of "purposeful action and hedonism", and "an identity free from constraints". The pool further provides a scenario which combines perceptions above and below an "Illusory surface", which Tina Keane uses to challenge simplistic responses.

Still from Neon Diver by Tina Keane, 1990
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