Welcome to the only official site for People Like Us and Vicki Bennett
Since 1991 British artist Vicki Bennett has been working across the field of audio-visual collage, and is recognised as an influential and pioneering figure in the still growing area of sampling, appropriation and cutting up of found footage and archives. Working under the name People Like Us, Vicki specialises in the manipulation and reworking of original sources from both the experimental and popular worlds of music, film and radio. People Like Us believe in open access to archives for creative use. In 2006 she was the first artist to be given unrestricted access to the entire BBC Archive. People Like Us have previously shown work at, amongst others, Tate Modern, Whitechapel Gallery, The Barbican, Centro de Cultura Digital, Maxxi and Sonar, and performed radio sessions for John Peel and Mixing It. She has an ongoing sound art radio show 'DO or DIY' on WFMU. The People Like Us back catalogue is available for free download hosted by UbuWeb.
Nothing Can Turn Into A Void – a documentary film about People Like Us has been screening in cinemas and festivals since Autumn 2015. Currently, Vicki is focussing on expanding both audio and moving image work for a multiscreen and multi-speakered environment with Recombinant Media Labs, with a new 10 screen work "Gone, Gone Beyond" and there will be a new People Like Us live performance "The Mirror" premiering at FACT, Liverpool in Spring 2018.
Using the internet and file sharing as our primary means of communication and collaboration, People Like Us & Ergo Phizmiz have produced this material over a period of almost a year (Spring-Winter 2006-7).
These recordings document a collaborative research and development process using live performance (with vintage dansette turntables and vinyl dubplates), a CDr album ("Boots!"), a 10" vinyl record ("Honeysuckle Boulevard"), and a CD album ("Perpetuum Mobile").The files available here constitute the research, CDr, and the live performance. The concert is represented by an edit from that which was recorded through the mixing desk and miked up record players, a full unedited microphone recording, and an archive of the tracks which were used on the vinyl dubplates – comprising music from the research period split across various records either through splits in time (so one minute of the track may play on one deck, the next three minutes on another player, etc) or through splits in the actual layers on the tracks (so two or more records playing simultaneously would create the "full" track).