A Hoodwink commission in a Wilkinson's store in Folkestone.
Some of the goods from 'The Castle' on sale at the Folkestone Art Car Boot: yellow brick road bricks, rainbow paint, diy rainbow misters, art history made out of sticky dots etc...
Folkestone Triennial 2014
''The ‘classic’ American road movie was both an emblem of achieving and escaping from the American Dream.The car, the road and the hero are the holy trinity of American cinema. But what would a convincing UK road movie look like? What architecture would it traverse today? How would the plot develop if it were constructed from the shapes and patterns of the ubiquitous data collected from ANPR technology? What would its journey tell us if the data were combined with how researchers approach and analyse the data?
From the archives: Documentation from the sealed room installation in the Invisible Force Field Experiments.
A short film about the Olympic torch
Cultural Olympiad (West Norwood).
Installation, pub sign paintings, stamps and money shown during the space between the Jubilee and the Olympics
PublicHouseProjects, Peckham, London
A residency and exhibition at Allenheads Contemporary Arts, Northumberland.
Single screen video
Footage of Heathrow airport at a standstill, closed due to a no fly zone imposed by a volcanic ash cloud overlays Marinetti’s 11 points from the Futurist Manifesto read out by computer.
To See You Is To Love You is a re-edit of Alfred Hitchcock's Rear Window with all the windows taken out. The entire film focusses on the gaze and gestures of Jimmy Stewart. Stewart never leaves the apartment, the audience never leaves Stewart.
Airplane, a melodrama is a re-edit of Airplane! with all the jokes taken out, returning it to its pre-spoof roots as a melodrama.
GHost III, St. john's Church, Bethnal Green, London 2010
Returning to documentation from Values for A New Age, this dual screen installation shows a wineglass appearing to move by itself across two cctv monitors.
The film's title is taken from the German national anthem. It records the beginning moment of transition of city life at the end of a world cup match.
"These highly sought after objects were once lovingly mass-produced. They are presented here in pristine condition for inspection in the pre-auction viewing for an event which promises to be the most exclusive sale of 2034."
In collaboration with Spinwatch and Platform.
24/7, Gooden Gallery, Vyner Street, London
The Domestic Military Complex (Semiotics of the kitchens) documents a domestic vacuum cleaning robot patrolling a kitchen disguised by a cardboard box with a rudimentary drawing of a tank on it.
Figuring Landdscapes, touring video programme: TATE Modern, Showroom, Sheffield, Chapter Arts, Cardiff, Cinemateque, Brighton, Bureau, Salford, Dundee Contemporary Arts, Vivid, Birmingham, Hull Film, FACT, Liverpool, Dell Gallery, Brisbane, Gallery of Modern Art, Brisbane.
From the invisible Force Field Experiments
An edition of 100 one penny stamps.
Art & Radioactivity, Nicholls and Clark, Shoreditch, London
Commissioned by Arts Catalyst & SCAN
'The Nightwatchman' begins in a high street shop that purports to be a consultation exercise by the British Atomic Nuclear Group (acronym BANG)
Part consultation exercise, part industry PR campaign, visitors can nip round the back and look around the back-end operation, revealing a just-deserted nightwatchman's hut and a nuclear facility in the middle of a meltdown.
Commissioned by SCAN
"The exhibition presents objects, photographs and films from the FAST archives, almost in the style of a small museum but deliciously twisting the idea of the museum and the dry presentation of carefully-selected facts, transforming it into a human tale with its foibles, contradictions and questionable truths." - Nicola Triscott
Far from empirical science and technological progress dampening the enthusiasm for magical or spiritual readings, the use and improvement of technology trades on the same sense of awe and the uncanny previously provided by mystical phenomena. The symbiotic relationship between technology and the uncanny is not only one of a shared notion of the sublime, but also one of appropriation.
Ongoing photographic project
In a former video rental shop's 'avaiable now' display, a video monitor relays cctv footage of painted video signal test bars.
'Can We Break the Speed of Light?'
Claremont Artspace, Hastings
So here we are. A few bits of televisions, some wires, magnets, vacuum tubes, some stepper motors, various audiovisual recording devices, a soldering iron, a few metres of extension leads, clocks, lenses, lightbulbs coated in ebonite, a record player, hatbox lids with holes cut out, a building to work in and heads full of John Logie Baird and Albert Einstein
A newspaper that records the Battle of Oxford Street, modified security signs and a situationist-revised "I've Met the Met" sticker.
'Pidgin' follows structuralist filmmaking emerging at a point where urban critique driven by Marx’s “Manifesto” meets wildlife observation”. – Ian Padgett
In Three Weeks Time
Ccctv cameras are trained on objects surrounding an information desk. A channel switcher cuts between close ups of a brifcase, a phone and a clock creating a live cinema set.
The clock ticks loudly providing a metronomic tension, its seconds hand moving backwards and forwards. The sound is rerouted into the suitcase waiting in front of the desk.
Con Art, Site Gallery, Sheffield & Glyn Vivian, Swansea
Commissioned by Site gallery
Values For A New Age combines the visual and uncanny language of the sceance, with computer controllers and live cctv to engage the viewer in a physical rendering of the cat in the box thought experiments of quantum physics.
The piece is viewed though a peephole in the basement of a nuclear scientist's house.
Peering through, the pages of a book calculating atomic weights flutter and turn.
GHost III, St. Johns, Bethnal Green (screening)
A static camera records ‘poltern’ activity within an empty room in a derelict house. In the installation, the film is playing on a monitor sat on the chair in the film. Additionally, the sound recorded at the time was plumbed through the floorboards.
Slide projector, 78 stills
Microphone, amps, feedback
Poplar Baths, London
Performances for a camera with one tape running.
Single screen film (Host 4 touring)
A smoking gun sits on a desk, lit by a film projector in a darkened room.The gun (a thirty eight calibre snub nosed revolver) continually smokes, The smoke is made in a lo-tech smoke machine concealed within the desk and is pushed out of the machine and into the gun via a pipe attached to the fan of the projector. The projector literally drives the mechanics of the narrative, and with the released smoke gravitating towards the projector, it creates a real time loop.
Peephole, hut, reflected video image, windscreen wiper mechanism attached to door, sound.
An turnstile is wired for sound. Speakers are placed at either end of the municipal changing rooms. A feedback envelope occurs when activating the turnstile triggering very physical reflections walking around the installation.
A rifle muzzle pokes out of a missing plank in a shed. It continually pans around, accompanied by the bugle call of the 'last stand'.
Hull Time Based Arts and Metro, Nottingham
A hand dryer suffering from pre-millenial identity disorder plays one of 99 recordings when activated.