Payne b. London, U.K. 1977; Relph b. 1979; both live and work in London, U.K.

Oliver Payne and Nick Relph are a British artist duo known for their collaborative work in film, video, and installation. Payne was born in London in 1977, and Relph was born in London in 1979. They both studied at Kingston University and began their artistic partnership in 1999. Payne and Relph's work often explores themes of identity, youth culture, and the intersection of art and technology. Their approach to video and installation often incorporates found footage and pop culture references, as well as experimental editing and sound design. The duo has exhibited their work in numerous international exhibitions, including the Venice Biennale, the Whitney Biennial, and the Berlin Biennale. Oliver Payne and Nick Relph's collaborative work ended in 2009, but they have continued to pursue their individual artistic practices. Their legacy remains influential in the contemporary art world for their innovative approach to video and installation, their use of humour and irony, and their ability to challenge the boundaries between high and low culture.

Oliver Payne and Nick Relph's recent solo exhibitions include BL CK B X, Lux, London (2018); Whitechapel Gallery, London (2009); Le Confort Moderne, Poitiers (2008); Gavin Brown’s Enterprise, New York (2007); Herald St, London (2007); Sonic the Warhol, Gavin Brown’s Enterprise, New York (2006); Serpentine Gallery, London (2005); Comma, Pregnant Pause, China Art Objects, Los Angeles; Gavin Brown’s Enterprise, New York (2005); How to Recover from Hyper Mode, Millers Terrace, London (2004); and Locust Projects, Miami, (2003). Recent group exhibitions include Hogarth: London Voices, London Lives, Pitzhanger Manor & Gallery, London (2020); Tainted Love (club edit), Villa Arson, Nice (2019); IAN WHITE – CINEMA AS LIVE ART / BECOMING OBJECT, Arsenal: Institute for Film and Video Art in Berlin (2019); READYMADES BELONG TO EVERYONE, curated by Fredi Fischli and Niels Olsen, Swiss Institute, New York (2018); The End of Selling Out, convened by Mike Sperlinger, Künstlerhaus Stuttgart (2018); Ash’s Stash, Gavin Brown’s Enterprise, New York (2014); Ground Control to Major Tom, Cookie Butcher, Antwerp (2014); Yokohama Biennale, Yokohama (2008); The Artist and the Computer, Museum of Modern Art, New York (2007); Deaf 2 “From the Audible to the Visible”, curated by Peter Coffin, Frank Elbaz, Paris (2007); Tate Triennale, curated by Beatrix Ruf, Tate Britain, London (2006); Greater New York, PS1, New York (2005); Other People’s Projects, White Columns, New York (2005); Sodio y Asfalto, Museo Tamayo Arte Contemporaneo, Mexico City; Museo de Arte Contemporaneo de Monterrey, Monterrey (2004); Inaugural Group Exhibition, Gavin Brown’s Enterprise, New York (2003); Utopia Station, 50th Venice Biennale, Venice (2003); The Tate Triennial of Contemporary British Art, Tate Britain, London (2003); Electric Earth, The State Russian Museum, St. Petersburg; House of Artists, Moscow (2003); Paris is Burning, Entwistle, London (2003); 20th Anniversary - Welcome Home, Gavin Brown’s Enterprise, New York (2003); Videodrome ll, New Museum of Contemporary Art, New York (2002); and Beck’s Futures 2002, Institute of Contemporary Arts, London (2002).

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