Takes the form of a loosely inter-related videos, colliding a number of genres: science fiction, mock-documentary, absurdist satire and video art.


Two bizarrely costumed characters – a human ‘chicken’ in a fat suit, and an elaborate folksy creature called an ‘authenticity fetish’- meet and debate their plight. In an attempt to reconcile themselves with some unspecified trauma of mass biotechnoviolation, these two beings quiz one another in rhyme and animation on the origins and ontologies of their species.

(34 sec trailer for a 7.5 minute video)

block336 29

First shown as an installation in solo show at Block 336, London, 2016

Our food, just like our politics, is synthetic. A supermarket chicken looks like an animal but doesn’t taste like one. Animal expanded. Everything in Jennet Thomas’s work is abstracted, condensed and expanded. Dissonance abounds, Bridget Riley crossed with Doctor Who, the high and the low, the optical and anecdotal – biological and technological. I’m reminded of the recent advert on the underground about how they can ‘delete’ blood cancer — your body as hardware, drugs as software — your body enhanced, expanded and abstracted.

– George Vasey on UNSPEAKABLE FREEDOM>>TASTES LIKE CHICKEN at Block 336, 2016


A man and woman speak urgently to camera about their relationship with an intelligent substance they call ‘Animal Expanded’. The man has swallowed Animal Condensed; as it expands it flows throughout his home, improving his family. He holds his five-year-old daughter up to camera: “Look how her fibres are formatting! She is her very own accelerated portfolio.” The woman has refused to swallow it – as ‘it’s not alive in the right way’. For this disobedience she is tracked by Deep Face and punished with Confusion Events. But in her studio she is building new weapons, bizarre kinetic sculptures with skewed faces and stark black and white camouflage stripes that she believes will ‘Re-align the narrative centre’. This struggle between conformity and dissent quickly escalates into exceedingly strange domestic science-fiction involving many pigs.

(33 sec trailer for 14 minute video )

Tintype_Jennet_Thomas_Installation_view_1_ACAE_hi-res copy

First shown as solo installation show at Tintype Gallery, London 2018

“Thomas’s critical skill lies in how her fables – fashioned, stream-of-consciousness-style, out of the detritus of pop-cultural neologism- tie everyday experience, through their use of the bizarre, to far bigger political and philosophical questions.”

JJ Charlesworth, Art Review Magazine 2018.


Two billion years from now, the oceans are beyond understanding, yet undersea karaoke may still be possible. The ghost of an oyster holds memories of what happened. It sings to a scrap of cloth that fell to the bottom of the sea, trying to get a face. An installation of objects and video in which cloth and string, song and dance, costumes and goo collaborate to find new ways of moving in bleak time. Here’s a 23 second trailer for the 7 minute film

First shown as a solo installation show at Xero, Klien and Coma, 2020

Part three ‘The Great Curdling’ was commissioned by the Whitstable Biennial 2022. More info on that work here