Vicki Bennett, a British artist of great renown, has been actively engaged in the realm of audio-visual collage since 1991, earning her a reputation as a trailblazing figure in the burgeoning field of sampling, appropriation, and cutting up of found footage and archives. Operating under the moniker People Like Us, Vicki has developed a distinctive practice centered around the manipulation and reworking of original sources drawn from both the experimental and popular spheres of music, film, and radio.
A stalwart advocate for open access to archives for creative purposes, People Like Us has previously showcased work at esteemed institutions such as Tate Modern, The Barbican, Centro de Cultura Digital, Maxxi, and Sonar, as well as performing radio sessions for the legendary John Peel and Mixing It. Moreover, Vicki has an ongoing sound art radio show, "DO or DIY," which airs on WFMU.
The People Like Us back catalogue is available for free download courtesy of UbuWeb. In 2013, Vicki premiered the performance "Consequences (One Thing Leads To Another)" at transmediale, a multidisciplinary arts festival. This was followed by the creation of a film for live improvising artists/musicians, "NOTATIONS," which toured the UK with TUSK/Sound & Music. Vicki also produced a film with seven artist soundtracks, "GESTURE PIECE," which was featured in various exhibitions. Additionally, she created films for Animate Projects/Channel 4 and a new CD titled "Don't Think Right, It's All Twice."
In 2014, Vicki had a solo gallery show, "Shutter," at Leeds College of Art, which showcased her unique visual and sonic artistry. Currently, Vicki is working on a new film/performance project, "Citation City," which explores the relationship between Walter Benjamin's Arcades Project and 20th Century London.
Throughout her career, Vicki has consistently pushed the boundaries of creative expression, redefining the possibilities of audio-visual collage and inspiring a new generation of artists to explore the rich terrain of found footage and archives.
