Adrift is a series of cinematic interludes that are inflected with reverie and tenderness, disquiet and departure that focuses on travel, displacement and migration. In Adrift, visitors move through an assembly of Super-8 films shot around the world. Images of movement and passage form a thread throughout the installation: ports, ferries and embarkation are soundtracked by field recordings of public gatherings, overheard music, birds, wind, helicopters and thunder.
Like the preceding works, Just a moment, or Trevety and Flyover, Adrift is characterized by a filmic language using long static takes, and classical framing. This is often combined with depictions of imperfect landscapes, utilitarian architecture and temporary resting places. The use of Super 8 in this instance re-enforces a sense of rich but fleeting experience.
Adrift was first shown as major film installation commissioned by Chisenhale Gallery and supported by Picture This Moving Image. It subsequently toured to Glynn Vivian Art Gallery, Swansea in 2005. It will be touring in UK and Taiwan in 2011-12.
‘Film seems to be new and fresh territory for many young artists, whose aesthetic aspiration finds a comfortable framework in the discipline of analogical flickering images. In Adrift, young artist and filmmaker Anna Lucas orchestrates a polyphonic and polyvisual event for her spectator's pure enjoyment. Depicting poetic motifs with the perceptual flow experienced in her travels, Lucas unpacks — with subtle sensitivity — Debord's notion of detournement. With the heightened attention of the traveller, she invites us to abandon ourselves to an uncontrolled web of free associations. The suspended multi-screen installation retains a delicate aspect of three-dimensional play that transforms previous virtuosos, such as Doug Aitken's or Bill Viola's, into assertive uber-technological statements. The melancholic yet painfully honest symphony that Lucas composes is constructed with small fragments and extreme discretion; the Super-8 film increases the impact of colour and its grainy quality elegantly evokes a tension towards authenticity.’
Francesco Manacorda in KultureFlash 2004