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A series of digital collages made in lockdown, using hand-cut personal photos, found landscapes and manipulated diagrams from a 1960's experiment on overcrowding.


Behavorial Sink


Pigment print on gloss rag

41cm x 29cm


12:45 (2020)

digital video, 15 min.

Image: video still



Hand-cut digital prints on blue-backed billboard paper, collaged onto the wall

2.6m x 9m

Commissioned by the Wellcome-MRC Stem Cell Institute in partnership with Blood Cancer UK and Kettle's Yard, for the public atrium of Jeffery Cheah Biomedical Centre, Cambridge.

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A soundtrack for headphones

and an isolated room

16 mins.

@ Home Manchester

May 2020 - May 2021

A Fermynwoods Contemporary Art

Homemakers commission 



A series of digitally manipulated hand-cut collages made with found travel postcards and tea cards that feature obsolete technologies and  endangered wildlife. 


Derinkuyu Vulture


Pigment print on billboard paper

59cm x 84cm

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Binaural sound installation for two 


Co-composed with Will Heasman

                                                  Commissioned by Cambridge Junction

and supported by Arts Council England

Premiered at Watch Out Festival 2017

Designed as an unregulated social experiment in proxemics and listening together, the free-standing installation (built from appropriated household furniture and fittings) suggests both the familiar and the surreal.  The binaural soundtrack, played through over-ear headphones, uses applied psychoacoustics to immerse the pair of listeners into a shadowy narrative that subtly explores themes of loneliness and the power of interconnectivity, whilst simultaneously exposing them as both observer and the observed.  


Immersive sound installation


A site-responsive sound installation set in the atmospheric tunnels of Landguard Fort, on Landguard Point in Felixstowe. Several adjoining rooms are temporarily transformed into an immersive environment where the past collides with the present as time expands, contracts, and circles in on itself.


With references spanning socio-political histories, familial military connections and the charged architecture of the fort itself, the installation features bespoke seating and a collage of meditative soundscapes using local field recordings and archival broadcasts.


Visitors are invited to sit, listen, and dwell within the ambient spaces.

Commissioned by Pier Projects, delivered in partnership with Landguard Fort and generously supported by Arts Council England, Felixstowe Town Council and East Suffolk Council


Biosensor-activated sound installation


Playfully out of sync with its architectural surroundings, A VALE explores pleasurable displacement through sound and the action of swinging.  Equipped with a solar-powered, bio-sensor controlled sound system, the swing replies to your presence.  Shifting from functional pastime to experiential medium, as you swing the structure responds with a polyphonic vocal composition.  With its steel A-frame base and nautical rope seat-bed, the installation juxtaposes work and relaxation whilst encouraging a skyward view – a proposition to reconsider the familiar.  

• Steel swing frame, aluminium and rope seat-bed
• Solar panel
• Steel sound box with coded control system, infrared sensor & speaker
• Engraved aluminium instructional plaque


Featuring an original composition by Seaming To
Commissioned for UCL Festival of Culture 

Supported by Arts Council England 

"Stand out work on this whistle stop day was Anna Brownsted’s swing sculpture piece. It’s impeccable production values translating what would typically be warm playful inter-action into a curiously quasi clinical public experience."   A-N online review


Digital film cycle 


Commissioned by Fermynwoods Contemporary Art

A sly little video a message from another planet.'  Adrian Searle, The Guardian

Diplomat is a digital installation of 100 short films programmed to continuously cycle through a random playing order. The individually numbered films are edited from a single-take shot of the artist performing a 7-hour durational action in response to the 2016 US presidential election. The number of films references the post-inaugural ‘first 100 days’, with a film for each of the president’s first 100 days in office.


The action begins with a warped record – a memorial album issued in 1964 featuring speeches by the then-recently assassinated American president John F. Kennedy.  Purchased for $1.00 at a flea market in rural Wyoming, the record is heat-damaged and almost comically warped.  The durational filming concentrates on repetitive playing of Kennedy’s inaugural address, which is considered by many to be one of the most inspirational speeches in contemporary Western history.  Due to the warping, each time the record is played a different variation of the speech is revealed.  The needle bounces across the contorted surface, repeating certain phrases while completely skipping over others.  What was once a consistent, fixed form becomes fragmented. Kennedy’s skilful rhetoric is dissected through chance and his message edited at random, disrupting the polished theatricality of the speech as a performative piece of history.


Over the 7 hours of repeated playing, the record begins to deteriorate.  Highlighting its own fragility, the act of playing it destroys it.  


Immersive sound installation 


Commissioned by Cambridge Junction

Supported by Arts Council England 

"In contemporary performative arts the word 'immersive' is banded around like it is going out of fashion. Very few performances live up to this adjective, but Anna Brownsted’s Marginalia is the very definition of the word. Marginalia is an experience for an audience of one, set in a secret location on the site of Cambridge Junction. It’s all very mysterious.


As I enter the performance space reminiscent of a shipping container, Brownsted greets me, asking me to take off my jacket, and checking that I’m not scared of the dark amongst other health and safety questions. As I lie down on the single bed from where I’ll experience the performance, I’m slightly apprehensive as to what the next 15 minutes will hold. I’m compelled to close my eyes, take some deep breaths, during which time Brownsted pushes the bed (which it transpires is on wheels) into an enclosed pitch-black space.


At first I feel like I’m in a coffin, but as time passes, I don’t feel like I’m anywhere. And this is where the genius of the work lies. As the audience member lies in the darkness, being whispered to by pre-recorded voices, they lose sense of space and time, which offers time for self-reflection, and also breaks down the boundaries of the traditional audience-performer relationship."          


A Younger Theatre full review 

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