'She’s touched your perfect body with her mind'. Words from Leonard Cohen’s Suzanne (1967) sung by Cara Tolmie at Ian White’s funeral (2013)

Flicker (8:51 mins), is a live work coauthored with Matthew Noel-Tod, incorporating projected video, a programmed colour strobe, and a live performance using mobile phones

The audience was seated on chairs in rows facing a white wall. A video projected large onto the wall started playing. The video has close-up scenes of an empty flat at night: a poster on a wall illuminated by a candle, a ceiling light switching on and off, a table lamp, and– finally– a home projector showing Tony Conrad’s The Flicker. The screening was interrupted in various ways. People in the audience were instructed to drop phones. A ‘colour’ strobe pointed onto the same wall as the video increasingly influenced and overpowered it, casting shadows and throwing intense flashes of colour - peach, yellow, red and pink– around the space and those in it. Whilst beautiful, the strobe’s aggressive noises filled the reflective space of the screening room.

The work was made for an event to celebrate the life of Ian White. 
White’s Ibiza, A Reading for the Flicker (2008) involves - amongst other things- the artist repeatedly kicking over a beer bottle as he recounts an experience with a lover. He projects Tony Conrad’s The Flicker (1966) into himself as he talks. Conrad's film uses strobe-like light effects created by constantly switching between white and black frames. Watching it is famously difficult:  Ian was aware of this physiological effect. Documentation of Ian’s own performance shows people leaving.