Slade School of Fine Art
University College London
Living and working in London,UK and teaching as a point 4 lecturer at the Slade School of Fine Art, Postgraduate Sculpture, UCL.
Spring 2019 Artwork exhibited at Archipelago Art centre, Azores. A major group museum show with 12 international artists documenting work made during residencies on the island of Sao Miguel. Exhibition of two works: Criminal Ornamentation curated by Yinka Shonibare. Touring Arts Council exhibition.Leicester, Wakefield, Exeter and Southampton.
Summer 2018. Solo exhibition 'The Mary Jane Paintings' opened at Handel Street projects.The work consisted of 12 new paintings that have been developed over a ten year period. They take on subject matter such as the history of painting and its relation to notions of the visionary. A text written by Jonathan P Watts was written to accompany the exhibition. This body of work comes out of research made into Walter Benjamin's 'On Hashish' and Sadie Plant's text 'Writing On Drugs' and it considers ideas about content and agency within artworks.
Solo exhibition of work made during the Azores residency, held at Fonseca Macedo Gallery in the capital, Ponta Delgada, in October 2018.Work from this exhibition purchased by The Gulbenkian Foundation, Lisbon.
Group exhibitions have included 'Inhabit' and 'Now, Today, Tomorrow and Always' both at the Towner gallery, Eastbourne. Also 'Artist's Voices, poster project for the Porto Underground, Portugal.
Using sculpture, text, photography, moving images and other media my work explores relationships between time and space using both material and immaterial approaches. I am interested in making work which uses location, site and atmosphere with reference to cinematic spaces and narratives in order to cause friction and potential between ideas of the real and the imagined. Alongside this lies an interest in ideas of projection and reception and the flux between the two, using the relationship between the seen and the hidden to reflect on notions of presence and absence and simultaneously distance and proximity.
I am interested in structures and themes which surround our ideas about place, such as utopian and dystopian spaces and I am looking at both the urban and rural aspects of this. For some time now my interest has been centred on a notion of the ‘Terrain Vague’, this has become an umbrella term involving many aspects of my practice - essentially this is a concern with two elements which are place and agency, these elements are constantly being explored and questioned through my research and output. Terrain Vague could be proposed as a productive zone, one which exists geographically and psychologically, I am very interested in the relationship between these two ‘states’ and how they affect our thinking around contemporary issues such as environment and the individual.
I use a very diverse approach in the production of works, my research output uses video, installation, sculpture, text and other media which involves the viewer/reader with a complex and layered practice, one which shifts its material and means in order to challenge notions of established and given forms. This approach can be seen as essential, my aim is for the output to question notions of the recognisable and the sequenced, it aims, to some extent, to disrupt. I use a wide range of media, including texts, drawings, film, video, sound and installation, to explore the perception of time, space and scale. My artworks frequently appropriate and manipulate images and literary narratives taken from art history, popular culture and, above all, cinema. The deconstruction of cinematic materials reveals a special interest in film language's structural sediment rather than its narrative articulations. The resulting ambiguity engenders a type of deconstruction of the notion of the sublime.
I am currently developing and researching 'Terrain Vague' a research event to be held at SRC, UCL in March 2020. This will be a four day exhibition with a symposium over a two day period, with invited speakers centred around my concerns with territory, agency and landscape. The UCL departments of Human Geography and Architecture will be participating with speakers from those areas.
I have a long teaching career beginning in 1993 at Chelsea School of Art, this was a 0.2 appointment teaching on the post graduate sculpture course. While continuing this I took a 0.4 post at Goldsmiths College on the undergraduate programme, this gave me a broad knowledge of teaching approaches and methods. I then took a 0.4 post at Central Saint Martins School, giving up my post at Goldsmiths and reducing my days at Chelsea. Wanting to have more experience directing and heading a department I joined the Fine Art department at Kent University as a 0.5 post with much more responsibility in the running of the Fine Art area.
In 2011 I began lecturing at the Slade as a Teaching Fellow in the Post Graduate Fine Art Media area, moving on to a 0.4 lecturer in 2012, beginning in the Undergraduate Sculpture area and in 2015 moved to Postgraduate Sculpture. have introduced and directed cross area symposium based around various themes, for example the subject of love in contemporary practice and a yearly project with Siobhan Davies Dance Studios.
Present: Slade School, UCL. MA/MFA Sculpture. point 4 fte.
Slade School, BA/BFA, sculpture, point 4 vt 2012- 2015
Teaching Fellowship, MA/MFA Media Slade School
of Fine Art, UCL. 2010-2011
Chelsea School of Art. Visiting lecturer. BA 1994- present
Goldsmiths College. Visiting lecturer. BA 1995-1998
Central St Martins Visiting lecturer MA (PT) 1999-2002
Central St Martins. Visiting lecturer BA 2006-2008
Kent University. 0.4 BA/MA 2008-2010
Phd Assessment RCA photography 2007
Phd Tutor. Suki Chan, Chelsea. 2005-2008
Mentor, Naheed Raza, Wellcome Trust Arts Award Scheme 2008
Writing and running ‘Text, Performance and Digital Media’Four day course for BA students CSM. 2011
Kingston Art School. Visiting lecturer, one day 2011 (Photography course)
The Divergent Gaze 2019 - Arqipélago centro de artes contemporâneas
Group show of artists completing residencies at Pico do Refugio, Azores. Work show: A body of work under the umbrella title 'Studio Monte Palace'. These were the works made during a residency in 2017 centred around a deserted 1970's hotel.Two video pieces; Hotel Lullaby and Hotel Reverb; a series of embroidered works titled 'Transfers' made with local material and based on graffiti texts found in the hotel. A series of drawings titled 'Drowned World' using digitally printed images of the location and watercolour, the title of these works is taken from J G Ballard's novel.
Criminal Ornamentation 2018 - Attenborough Arts centre, University of Leicester, Royal Albert memorial Museum Exeter,Longside gallery, Yorkshire sculpture park,Southampton City Art gallery.
Decoration and visual culture, group Arts Council collection show.
Works shown: two photographic collages from the series 'Transitionaries'. using black and white photographic stills from films, cutting them into narrow strips and creating a visual 'mix' between one, two or more different narratives by interlacing these strips, optically confusing they operate at the limit of the legible but mutate into a new form.
The Mary Jane Paintings 2018 - Handle Street Projects
A series of paintings using Hashish as the material content.Image based works and abstract works on canvas which explore notions of agency, content and space and time. They were made in response to numerous texts on the subject including Walter Benjamin's 'On Hashish' and Sadie Plant's 'Writing on Drugs'. The works are also concerned with notions of exchange and value as well as ideas about how art acts upon us.
Mary Jane Paintings 2018 - Handel Street Projects, London UK
Artists Voices 2018 - Porto underground network
An exhibition of artists posters in the underground system of Porto.My image was of a work titled 'Spaced' from 2005.
Studio Monte Palace 2018 - Gallery Fonseca Macedo, Azores, Portugal
A series of work in different mediums made while on residency in the Azores. The works were all made in response to and in the location of a deserted and ruined 1970's brutalist hotel on the island of Sao Miguel. The works deal with notions of dwelling, occupancy and peripheral geographies.
These works consolidated my interest in the ideas surrounding the phrase 'Terrain Vague' especially concerning the aspects of occupied and unoccupied buildings/territories.
Works show included:
'Hotel Lullaby', a 12 min loop of a firework display within the confines of the building, a series of embroideries made with local material and craftspeople on the island.
Inhabit 2018 - Graphite On Paper - Towner art galley, Eastbourne
This conceptual installation of paintings, sculptures and prints from the Towner Collection invites the visitor to inhabit the gallery spaces as they move through three defined settings. These immersive environments, created through the juxtaposition of the art works, inspire the imagination and encourage the viewer to find hidden connections by altering their perspective.
Bienalsur 2017 - Film - Rossario City, Argentina
BIENALSUR is the International Biennial of Contemporary Art of South America. By means of
contemporary art will simultaneously connect over 32 cities in 16 countries and will gather
over 350 artists and curators from the five continents.
The BIENALSUR exhibition will take place between September and December 2017. Conceived
on the basis of a global network of institutional collaboration that erases distances and
borders, and upholds singularity in diversity, BIENALSUR proposes a vast territory built upon
the perspective of a “Global South”.
BIENALSUR is organized by the Universidad Nacional de Tres de Febrero (UNTREF) of the
Argentine Republic. Its Rector, Aníbal Jozami, is the General Director and Diana Wechsler, the
Artistic and Academic Director. Over 95% of the works of the Biennial were selected after a
careful screening process that included two international open free topic calls. These open
calls invited artists and curators to conceive specific original projects. More than 2,500
proposals from 78 countries were submitted. These calls revealed the recurrent presence of
projects in active conversation with each other both inside and outside the world of art.
Now, Today, Tomorrow and Always 2017 - Photo-collage - Towner Art Gallery, Eastbourne
An exhibition exploring the recent past of cultural production and concerns, looking at hopes, dreams, utopias and disappointments. Works selected from the Arts council collection included 'Transitionary' photo collages.
Now, Today, Tomorrow and Always brings together a range of artworks that explores how popular culture, and its vast compendium of imagery, words and materials has influenced recent contemporary art. With a focus on the provocative, liberating and seductive power of music and film, the exhibition considers how popular culture has continued to be a source of inspiration for artists, while also reflecting on a diverse range of themes from subculture, fandom and marginal communities, to individual, collective and national identities.
Floating World 2017 - Bahrain Art Foundation
A film screening of 'Spill (1999)'
The Shape of Thought 2016 - Video/ Drawing - Christina Guerra Gallery, Lisbon
A group show examining the relationship between thinking and doing and how a work might be a description of thought. Works shown were 'Silver Form' (2011) a looped video, and a series of drawings on photographs.
Notes on gesture (part three) 2016 - Siobahn Davies dance Studio, London
Notes on Gesture was curated by Jeremy Millar for Siobhan Davies dance studios. It took its lead from the Warburg library at UCL and their archive of images. A work from 1994 titled 'Surrendering' was shown, a photographic work depicting the artist adopting the gesture of surrender, hands in the air, this is from a series of three images made at the time, now in the Tate Gallery collection.
On the Immense and the Numberless 2016 - David Risley Gallery, Copenhagen
A group exhibition which looked at depictions of infinity in contemporary practice. Work included was 'Dark Corner'
Sequences VII 2015 - Reykjavík
Sequences real time art festival is an artist run biennial held in Reykjavík, Iceland. The aim of the festival is to produce and present progressive visual art. Founding members of and responsible for Sequences are Kling & Bang galleri (est. 2003), the Living Art Museum (est. 1978) and the Icelandic Art Center. Sequences is a non-profit organisation. Work shown was 'Dark Light Piece (Night of the Living Dead)Luminosity Wave Form.2002
Self 2015 - Turner Contemporary, Margate, Kent, UK
Self was an exhibition which explored various ideas and approaches to self portraiture in contemporary practice. Works shown were: 'Self Portrait as a Blur' (2015), a kinetic work which is a self portrait spinning at high speed, the image becoming impossible to recognise; 'No Self Portrait' (2015) a photographic work of the artist obscuring his own face with his hand, it becoming a blank, or a denial of access to the viewer.
Over 100 works were included in the exhibition.
The Scary 2015 - New Media gallery, Vancouver, Canada
An exhibition exploring notions of the macabre in contemporary practice.Work shown in this exhibition was ' Luminosity Wave Form, Night of the Living Dead' (2001). This is a work which sees the entire film of the title through the lens of a light measuring piece of technology. The images in the film are transposed to a green light wave form which measure intensity of light across the screen, occasional images, or 'ghosts' emerge from an otherwise uncanny green swamp of light.
FORESAKENFOCUSVERTIGOPREDICTION 2014 - Multi Media - Marlborough Contemporary
Large scale sculptural works, neon works and sound work exploring notions of time and place.
The sculptural works were plywood pieces based on the abstract form found In Albrecht Dürer's engraving 'Melancholia' from 1514. they took the idea of this form being either a container or something being contained, there being three versions of the form all seeming to unfold or 'bloom'. The title of these three works weer 'In Bloom' drawing attention to the idea of something opening and releasing its content.
Another work shown was 'The Information' a single strip of neon based on a single line describing the sky from another engraving, that of the frontispiece to William Morris's novel 'News From Nowhere' from 1890, a novel which discusses utopia and socialism in a science fiction format.
Close Protection 2013 - Winchester Discovery Centre, Winchester, UK
A new commission for Art South, a collaborative work resulting in a solo show consisting of a three screen video projection with sound. The collaboration is between myself, an army camera team and a group of six dancers from The new Movement Collective. The work was filmed at Longmoor army camp using the camera team and night vision equipment supplied by the army. The dancers responded to this location and the means of recording the event and choreographed a new work around these ideas. What results is a work which collides ideas of movement and choreography and plays with ideas of the seen and unseen while concentrating on the expressive elements of the dance.
This work formally develops some interests in night vision and the unseen that I have previously been looking at with works such as 'Night Street Touch' but approaches this in an entirely new way for me, using the evocative nature of the location and recording means to develop a new performative element.This commission was part of a series of commission from ArtSouth located in venues and public space across the South East area of the UK, a total of 10 artists were included. There was a public event/conference held in Winchester discussing the nature of collaboration and its meaning in contemporary practice at which I was a panel speaker.
CLEARBLUESKYDEEPDARKWATER 2013 - Centro Galego de Arte Contemporanea
A large scale museum show consisting of 12 new works made especially for the exhibition and eleven recent and older pieces. The exhibition consisted of sculpture, text, projections and photographs. A new work 'In Bloom' was shown, a series of three large scale sculptures which occupy a space between formal minimalist traditions and popular cultural references. The forms for these works are based on the abstract form in Durer's 'Melancolia' they take on an animated presence in the space, creating a sense of place and possibility. This was displayed alongside a new wallpaper design commissioned by the museum, also using the same form as its starting point. The intention was to suggest both an external and internal sense of space through the use of architectural form and more domestic decoration. A second large scale piece commissioned by the museum was 'News From Nowhere' , using William Morris's novela of the same title as a starting point it consisted of a steel market stall structure with 18 specially printed posters which visitors could take with them. Throughout the show there were references to notions of utopia and dystopia colliding with more individual ideas of place and purpose using divergent materials and references such as Durer, Morris and 1970's progressive rock music and it's ideologies. These collisions bought about an atmosphere of potential and possibility but one full of tension and , as expressed in the title, a feeling of unease or the uncanny.
The exhibition enabled me to develop some established ideas in my practice but also to explore some very new territories.
'Vortex Mix' was a work included here which also appeared in 'Cage Mix', the new context here bringing an expanded sense to the concerns and subject matter of the work. This is also true of the work 'Spill(2006)' and 'Spaced' which were included in this new show.
More Than I Dare to Think About 2013 - Photo-collage - Marlborough Fine Art, London
Group show of works on paper. Works shown wer two large scale photo collages. Titled ' Transitionary'. These works deal with collisions between cinematic genres using film stills to collide narratives and scenes.
Revolver 2012 - Photographs - matts gallery, london
A three part series of short exhibitions at Matt's gallery, London. Work shown was 'Lens' a series of sepia photographs taken at the hotel location used by Wim Wenders in his film 'The State of things'.
Lens: consisting of a series of sepia toned photographs shot on 35mm film taken on location at a hotel on the Atlantic coast of Portugal. the hotel is set close to the furthest western point of Europe, a one time geographical end of the world, and was used as the main location for Wim Wenders' 1982 film The State of Things. At that time it was deserted an in ill repair. the first ten minuets of his film are shot in Sepia and depict a remaking of Roger Corman's 1955 science Fiction film The day The World ended set in an undesignated future.
The Unseen 2012 - Photographic/Installation - Guangdong Museum of Art, China
The Fourth Guangzhou Triennial. A major international group museum show looking at notions of the invisible in contemporary visual practice. I showed five works in the exhibition Including a new version of 'Unseen Film' made especially for the occasion of the opening of the exhibition.'Unseen Film' is a work which involves the purchase of all tickets to a chosen film screening in a popular cinema, at the designated time of the screening the cinema is closed to the public although the film may still be screened. This work intends to deal with questions of blankness and subtraction, attempting to make a space of non-reception. The other works in this exhibition were four iterations of 'Dark Corner' a painted black triangle in selected corner of the given architecture.
Containing the Possible 2012 - Pippy Holdsworth gallery. London
an exhibition that brings together work by artists who devise objects or situations that have a sense of their own duration. These temporal works also have a metaphorical quality that emerges through a set of specific relationships with film, photography or the 'document'. Works included in this show re-construct, disrupt and challenge our relationship with the world, within fictional, virtual, private and public space.
In and out, back and forth 2012 - The New Art Centre, Roche Court, Salisbury, Wiltshire,SP51BG
An exhibition consisting of five new works with two other works exhibited for the first time, including a new work made for the site. 'Intoxicated Landscape', the new piece, involved the dispersion of alcohol and perfume through the grounds of the exhibition venue, this was then documented and shown as a series of photographs. This work engaged with ideas of trace and with the collision between man made and natural substances, it also played on the idea of a place being overcome through consumption and with a conceptual tradition involving photography and the invisible.A new object based work was produced using 3D printing techniques together with chrome plating. It took the form of a chrome plated sleeping mask, this work gave the show its title 'In and Out, Back and Forth', a hyper visual object transformed from something usually associated with blocking out light, retaining its links with sleep and transport.
Odisseia Kubrick 2012 - Video - Solar - cinematic art gallery, vila do conde, portugal
The exhibition 2012 A Kubrick Odyssey is composed of videos and installations created by European artists strongly influenced by the cinematographic and philosophical universe of Stanley Kubrick, one of the most remarkable authors of the second half of the twentieth century and probably one of the filmmakers most often cited in contemporary art.
The works selected for this exhibition, mostly produced in the 21st century, result, by one hand, from a fascination with some of the most popular Kubrick’s films such as "2001: A Space Odyssey" or "The Shining" as well as the revealed sympathy of the austere humanism of the director. On the other hand, the exhibition is composed by videos resulting from a random appropriation of existing images of Kubrick’s films, opened to new meanings.
Animated environments part 2 2012 - Siobhan Davies Dance Studios, 85 saint georges road, London SE1 6ER
A solo exhibition of works relating to movement, space and time conceived specifically to relate to the environment of the Siobhan Davies Dance Studios. Consisting of video, sound, photographs, painting and an event based installation at an off-site location. The event based work was a new version of 'Illumination Rig' held in a public urban space close to the dance Studios. This engaged with ideas of stage and movement. The exhibition allowed me to consider connections and aspects of a body of work that I had not had the chance to consider previously, the audience saw a range of works in different media coming together in an unexpected but clear way. Time (tempo) was an important element in the show, the relation between the use of the building, its architecture and the distribution of works within it were carefully considered. A public talk was held at the venue with David Chipperfield addressing the themes of the show, especially the ideas arising from 'Illumination Rig'.
Recent Aquisitions: Tate Displays 2012 - Tate Britain, London
Exhibition of recent acquisitions at Tate Britain Work show was 'Spill 1999' a 16mm film projection
As If 2011 - 55 laburnum street LondonE2 8BD UK
This exhibition consisted of a body of new works including projection, sculpture and photography. It developed themes established in my practice, the relation that cinema has to reality and memory, through a particular and focused route. The work generated focuses on a film made by Wim Wenders in 1982 titled ‘The State of Things’. The exhibition ‘As If’ took this film as a starting point for the production of works. A visit was made to the location of the original film shoot, a slightly run down hotel on the Atlantic coast in Portugal, where documentary style photographs of the building and its location were taken on 35mm still film. These were then projected as slides in a sculptural installation consisting of a specially built room and viewing panel. Other works were produced at the location and also shown in the exhibition.
The works deal with questions of film time and real time through presenting the images in a way that was poised between archaeological finds and proposed futures. Using the film narrative my research attempted to ask questions about what happens when film images become sculptural and what happens through that transformation. I was interested in the idea that the viewer might ‘inhabit’ the film scenario in an entirely new way through making these translations. The works presented come together as a singular installation which engenders the feeling of place, an important aspect of the original film and the exhibition.
35mm still film was used in the making of the work as this engaged with the original format of the film, this film was developed by myself which linked back to my own emerging practice when the film was shot in 1982. A neon sign which read ‘HOTEL THE STATE OF THINGS’ was included in the show and this linked the ideas to Roberts Smithson’s ‘Hotel Palenque’ a work in which the entropic nature of a hotel building becomes a location to dwell on themes of becoming and disintegration.
The images used in the projection aspect of this installation were later printed as a series of photographs, making a new and separate work titles 'Lens' for the 'revelver' show at matt's gallery. Arts council Funded.
Illumination rig 2011 - Turner Contemporary, margate, uk
Illumination Rig consists of a film lighting rig which illuminates a given location. The work has been made in four different locations and for the opening of Turner Contemporary in Margate it was very much a new piece, previously the work had lit an otherwise empty or ‘inactive’ landscape, for this occasion the lights were used at a very public and very specific site. This changed the nature of the work in a very interesting and very productive way and led to a reconsideration of the works effect and meanings in this new context.
It was very important in the process of this work to consider the architecture of the new building and the fact that the area would be inundated with visitors throughout the period that the lighting rig was in place. ( from 12 am until 12 pm on the opening day). Also it was, of course, important to consider the location which is directly on the seafront. Much discussion was had with the lighting crew members and the staff at the gallery on how to use the rig to draw attention to the people and the landscape and not to just light the new building. This was achieved through careful placement and direction of the light.
The lights used have a very sculptural presence and they are a way of orchestrating movement and architecture. The viewer of this work also becomes the subject, on that level the work is interactive as it provides an opportunity to directly engage with it.
The work addressed questions of location and event by directly using these as their subject, literally by throwing light onto them. Orientation, focus and subject were bought into question by, for example, having some of the lights directed straight out to sea making visitors acutely aware of their surroundings and the scale of the event.
It is felt that the rigour of the piece lies in its simplicity and its use of light as material.
Historically the work made great sense for this location, where Turner had once boarded and painted as it was seen to be a way of painting directly onto the landscape.
The impact of the piece was to persuade a large audience to consider notions of painting, cinema, history and the reading of a location or situation through the vehicle of the lighting rig.
This work has since been made again for the show at Siobhan Davies studio's 'Animated Environments.'
The significant difference between these two renderings of the work and the previous versions is pointed out here. I'd like to underline that the specific relation to architecture and movement bought to bear on the work through the relations between dance, space, audience and movement on these more recent occasions transform the piece into a work much more about participation and involvement. The idea of 'situation' becomes much more central and important - and I relate this descriptive term to both the landscape and the engagement of the audience.
Cage Mix 2010 - Baltic Art Centre, Gateshead. UK
In Cage Mix I was able to align some of my practice in relation to the work of John Cage. Cage’s drawings were shown in the gallery above and so the relation between visual and aural was a distinct aspect of the show. This had been a concern of mine for some time so one older work was shown alongside a new commissioned wall based work. The work made was titled ‘Vortex Mix’ and brought together some ideas about the relationship between image and sound. It used the cover art from five 12 inch vinyl records spinning at high speed, the images becoming blurred abstract patterns through this method. I wanted to approach the idea that visual and aural information relied on vibration and that this was related to Cage’s thinking on the subject. I wanted also to transform the record covers to a single blur, so that the idea of visual and aural overlap could be expressed, the idea of visual noise being central to my thinking. The subject matter was approached in a very direct way and was successful in its intention to position itself between the visual and sound material, the kinetic aspect of the work constantly reminding the viewer that there was an element of the unrecognisable contained within the work. A second aspect of this piece was to play the five records in the Baltic’s huge stairwell, all five recordings were played simultaneously at the base of this space with speakers placed at different hights through the stairwell. This produced and interesting counterpoint to the visual aspect of the work and took on the architecture of the space which became a resonating chamber. Alongside this I showed a framed work for the first time, another recording titled ‘Threesixty’. This is a framed 12 inch vinyl recording of the sound of a helicopter, it’s frame sealing it from the world of sound.
Audiences were able to think of these pieces in relation to Cage’s questioning of what makes music, what does silence consist of and where does one form of perception begin and another end?
Wouldn't A Title Just Make It worse? 2010 - Central reservation, Bristol
An Exhibition that considers the editing process as a productive subtraction: creating by means of interruption, obstruction and withdrawal.Work shown was 'Unseen Film'.
Never The Same River 2010 - Video Projection With Sound - Camden Art centre
A group exhibition curated by Simon Starling using and recreating works previously shown at Camden Art Centre creating collisions between previous shows and the physical/conceptual spaces represented. Work show was Fall(7-200-1), a video projection of a landscape and lake where there is a small chance (7200-1) of an object falling from space and hitting the lake surface, originally show at Camden in 1997.
Sequilism part 3 2009 - Arnolfini Gallery, Bristol, UK
An exhibition exploring 'Possible, Probable and Preferable futures'.
Showing of kinetic work ' Hypnotic Dystopic Optic' and photographic work 'In the not too Distant Future'. Text works 'Various Futures' also reproduced in accompanying book 'Concept Store'.The text works are brief descriptions/ fragments of narrative from possibly longer stories, taking the form of the texts found on the backs of science fiction novels indicating the scenario and action.
In Between The Lines 2009 - Trinity Contemporary gallery, London
A survey of recent British drawing.
Known Unknowns 2009 - Paper - Loop gallery
Group show in Seoul, S. Korea dealing with notions of the hidden and the unhidden, the seen and the unseen. Works shown: A new neon text work which reads 'unmade, undone' one of a series of neon texts that call attention to absence and things unavailable or ill-defined; Spill (2006) video work which is the second instalment of Spill (1999) and follows the path of a large amount of dry ice or mist/fog moving through an area of common scrub land, its origin and implication remaining unclear; 'Surrendering' - a series of b/w photographs of the artist surrendering in various locations made in 1994/95.These works intend to occupy a space between positive and negative aspects of the action of surrendering.
A La Surface de L'infini 2009 - La Gallerie, Centre d;art Contemporain, Noisy le sec
Exhibited work: Remote Viewer(2001).'Whether suggestive of a theory about the geometry of the universe or simply of a sci-fi novel, the exhibition’s title immediately asserts the narrative and imaginative scope of the thirty works gathered together here. More than connections between the hereafter and the world of appearances, “On the Surface of the Infinite” proposes a possible artistic link between two contradictory terms: infinity, a spacetime historically infused with romanticism, and surface, which suggests the perceived coldness of Minimalism'.
Fear Minus One 2008 - Projecion - Mandeville Centre, San Diego University, USA.
Group Exhibition with artists dealing with light and dark with an interest in the uncanny.. work shown was 'Dark Light Piece. Luminosity Wave Form, Night of the Living Dead'. a projected video piece.
The Space of Elsewhere 2008 - Stanley Picker gallery, Kingston UK
A group show centred around 'navigating spaces'. Work show was 'Dark Corner', a work which is placed in the corner of a given architecture and consists of a black painted triangle made directly on the wall.
Your time my space film time film space my time your space 2008 - Solar, galleria de Arte Cinematica, Vila do Conde Portugal
A solo Exhibition drawing together seven works from my practice plus the production of a new work ‘Film Poster’
Solar is a small museum space which shows the work of artists concerned with film and video, both its production and inherent ideas. The works bought together for this show by independent curator Miguel Perez all dealt with film language, space and time. It was the first time that these works were brought together and was much more than a survey show as it provided an opportunity to consider the work in a new and productive light, the approaches to the same subject using different media being a very important aspect of this. The intention of the show was to demonstrate this rigour of approach while drawing attention to the various means of production enabling a coherent practice to emerge through ideas led work. The relationships between sound, event and process were all explored in relation to each other, any chronology of the pieces was ignored in preference to relations. In this way the viewer was asked to view the show as a cinematic chain of events that could be triggered at any point and in this way the exhibition was seen to be original and new.
A new work titled ‘Film Poster’ was made for the town square in Villa do Conde. A large poster listing over 200 possible films was placed on a wall facing the town square. This read as both an instruction, an opportunity for production or a work of poetry. A version of the work was also made as a small printed poster for the audience to take away with them.
The exhibition was held at the same time as the yearly film festival that the town holds and so was seen by many alongside new and historical works in the medium. A talk was delivered in the art school in Porto by me which developed the idea of the exhibition.
From Yodeling to Quantumn Physics 2008 - Palais de Tokyo, paris
Group show at The Palais de Tokyo, Paris. 'Fall (7200-1)' was exhibited, a large scale video installation.
No Cinema 2008 - Centro De Memoria, Vila do Conde, Portugal
An exhibition with works dealing with the absence or negative spaces in and around cinema taking its lead fro Jean-Luc Goddard. Work shown was 'Unseen Film' commissioned for the exhibition involving the purchasing of all tickets for a cinematic screening, preventing an audience seeing the film.
Graham Gussin 2007 - Pedro Cera gallery, Lisbon
Solo show of selected recent works.
Works included were: A new neon text work reading: 'blurred, vague, unstable' in large blue neon. This is from a series of neon works where I am using the medium to 'advertise' what is usually a negative quality, the phrase is also from a description or definition of the phrase 'Terrain Vague' describing a type of place or landscape. Also show: video works on monitor 'Night Street Touch' and 'Handlight' and Spaced, a photographic self portrait.
Your Position as Much as your Environment 2007 - Photographic, Video - Model Niland: Model arts and Niland Gallery, Sligo, Ireland
A seven person group show which looked at 'position' and 'environment' and asked questions about perceived landscape and projected landscape, positing that the idea and experience of our surroundings is made up of countless assumptions and projections and that we are only sometimes able to see beyond that. The exhibition was curated by Sarah Glennie, other artist were: Stephen Brandes, Karl Burke, Runa Islam, Andrew mania, Denis McNulty and Mark Orange. I delivered a talk about the works included in the show.
No Future 2007 - Bloomberg Space, London
I co-curated and exhibited in this exhibition about the absurd and the negative in contemporary practice. It included over 30 international artists, the title was taken fro the Sex Pistols song released in 1993.
Still Life. Art, Ecology and the Politics of Change. Sharjah biennial 8 2007 - Sharjah, UAE
Large International group show looking at Ecology, Environment and change.
Showing of two works: Video installation of Spill(2006) and the installation of 'Illumination Rig' especially commissioned for the exhibition. This version of Illumination Rig was located on an urban island on a man made lagoon, special permission was sought to use this location as it was a 'forbidden' territory, locals not being allowed to trespass there. The permission given, the island was then open to visitors so bringing particular meaning and consequences to this iteration of the piece. The two works shown had a strong relationship to film and film effects and to landscape, key concerns of my research and practice.
The Starry Messenger 2006 - Compton Verney
A group exhibition that looks at 'Visions of the universe' in contemporary practice with a historical background and context. The work show was 'Beyond the Infinite (1993), a two screen video work using footage fro Kubrick's 2001: A Space Odyssey.The two screens repeat similar footage running in and out of sync, sometimes mirroring each other increasing the uncanny and paranoid nature of the final sequence.The monitors playing the footage are displayed on a false floor, illuminated at its edges, forming a stage and imbuing the work with a sense of place.
Illumination Rig 2006 - Newcastle city centre
Illumination Rig is an ongoing work made in different locations from 2003 onward. It is, in sense, an event, an occasion where consumption and transformation are made conspicuous. But the piece works in other ways: The lights used are very specific, they are film lights, they have a particular architecture and quality and they bring about the sense that something is about to unfold within their throw, they imply some kind of narrative, something about to arrive or depart, something extraordinary. They turn whatever they illuminate into a possible film set and they are a way of orchestrating movement and architecture. They also light the audience, they become the subject in a fictional landscape.The nuance of the piece changes dramatically according to location and the conditions around it.
Made in collaboration and Locus + Newcastle.
Spill (2006) 2006 - Ikon East, Birmingham
The first screening of Spill (2006) funded by Film London. This was the second instalment of two parts (Spill 1999 and Spill 2006). It relocates the event depicted in both films, the 'spilling' of dry ice across a given space, from a derelict interior to a deserted exterior. the work deals with cinema and notions of the Uncanny.
One Year One Second 2006 - Palais e Tokyo, Paris
Group show about the expansion and compression of time, expectation, duration and suspension.
Okay/OK 2005 - Swiss Institute new york
A group show exploring the area between knowing and not knowing.Works shown were: 'Beginning and Ending at the same Time' a two screen video piece using mirroring and reversal, short piece of film being made using a single camera zoom from maximum width to maximum zoom, this footage then reversed temporally and inverted spatially.The two versions are then shown together with only one frame being the exact mirror of the other, one screen always moving in and the other always moving out. this piece articulates the space articulated in the exhibition, that between seeing and knowing and the slippage between the two.
a second work brought this idea into the performative realm: the exhibition took place across two venues half a mile apart. the performance, titled 'Transitionary' involve a person walking from one venue to the other and back again repeatedly, briefly touching the outside wall of each as they went.This was repeated throughout the event.
Backdrop (Teló de fons) 2004 - SantaMonica Contemporary Art, Barcelona
A new work was commissioned and made for this exhibition exploring light, absence and repetition, 'Backdrop' (Teló de fons)(2005). The work took an element from another piece 'Illumination Rig' which is a single large scale film light, this time held in an interior space. This light was set against a black background and remained constantly illuminated, too bright to look at, illuminating the viewer in a harsh light. Four monitors suspended from the ceiling played short video pieces conceived around the idea of light and place. There were sequences showing the lighting of flares on the outskirts of the city of Barcelona and sequences involving a revolving lamp in the artists studio, together these worked to effect an idea of proximity and distance anchored to the idea of something as simple as dark and light. This work brought together both geographic elements and performative elements for the first time in my practice, this was something returned to with a later work ' Close Protection' (2013). Also shown were a second video work 'Luminosity Wave form' and a suspended mobile using photography titled 'Texas Chain Saw Massacre Mobile.'
Nothingness 2004 - Galerie Eugen Lendl, Graz, Austria; Galerija Gregor Podnar, Kranj/Ljubljana
Exhibition exploring the legacy of the conceptual movement in contemporary practice. The work included in this exhibition was 'Key to an Abandoned Airport' made in collaboration with Jeremy Millar. The key was made in an edition of 100 and is the key for many of the doors for an abandoned airport that used to be the main airport for Oslo.The work addresses questions of access and place and engages with ideas about the contemporary ruin.
In The Beginning There was The Journey 2004 - Paper - Museum of Contemporary Art, Pontevedra
A new work 'Shift' was made for 28th Bienal de arte de Pontevedra.
The work was a response to the space in the main museum in Pontevedra, a large underground hall with high skylights. There were two elements to the work, the first being 90 tonnes of sand which was poured into the space creating a landscape which seemed apocalyptic, turning the huge space into a future landscape or post disaster scenario. The writing of J.G. Ballard was very influential here with his descriptions of cities overrun by sand dunes or floods.The second element was filters on the glass skylight, changing the light within the space dramatically adding to the idea of a 'shift' of nature, environment and possibly time.
Éblouissement 2004 - Jeu de Paume, Paris
A group exhibition exploring light, darkness, exposure and dazzlement in relation to photography. work shown was 'Self Portrait as X- The Man With X-Ray Eyes. This work is a photographic self portrait of the artist wearing black contact lenses which is a reference to the film seen in the title of the work: the film includes exactly this image and is a powerful articulation of the space between seeing and non seeing. There is also a reference here to Penone's 1970 work where the artist wears mirrored contact lenses, turning sight inside out.
Whitstable Biennale 2004 - Horsebridge art centre, whitstable, north kent
Film shown of work ' Illumination Rig' when it was first made and installed on the north Kent coast.
densité +_0 2004 - École national supérieure des Beaux, paris
Exhibition exploring notions of reduced visual information in artwork and the relation this might have to conceptual practice. Included in this exhibition were; 'Infalling Material' 1998. a series of six short works on video located in the studio using echo, delay and editing to explore notions of effect and subject;' Self Portrait as X-the man with x-ray eyes' 2003, a photographic work depicting the artist wearing black contact lenses., this work is in reference to the film of the title and Penone's 1970's work where the artist wears mirrored contact lenses.
Stopover: Venice Biennale 2003 2003 - Giudecca, Venice, italy
A large scale installation titled 'Terrain Vague'. This consisted of the exhibition of a bus in a venetian cloister, the bus had been driven from London to Venice while making a film en route. the entire floor surface of the space was lined with blue screen material, the vehicle seeming to float on this surface. The footage was of various stages of the journey, a road movie of sorts, with a sound track of reversed film music.The work dealt with ideas of place and arrival, stillness and movement.
Graham Gussin 2003 - Neon, Photography, Projection - Lisson Gallery, London
Solo exhibition of new works including slide projection, neon and photography.
This Was Tomorrow 2003 - Wall Drawing - New Art centre, Roche Court, Wiltshire
Group show looking at notions of past, present and future.
Warped Space 2003 - Wattis Institute, San Francisco
A show about spatial perception
Something Else 2002 - Mixed Media - Primo Piano gallery, Rome
five new works dealing with time and memory
Ferrotel 2002 - Vittorio Emanuele 2- Pescara Italy
Group exhibition held in the old fire statio in Pescara, a yearly event under the umbrella title of Fuoriuso.
Paradiso Perduto 2002 - Palazzo dell'Arengo, Rimini
Exhibition exploring notions of the sublime, nature and landscape.
Something Else 2002 - Wall Drawing - Primo Piano Gallery, Rome
Show consisting of new works, drawing, text.
Graham Gussin Ikon Gallery 2002 - Multi Media - Ikon Gallery, Birmingham, UK
survey show of work made from 1990-2002
En Route 2002 - Serpentine Gallery London
A group exhibition considering journeys in contemporary practice.
Video work 'Costa del Sol' 1996 shown.
Graham Gussin 2001 - Projection, Wall Drawing. - Chantel Crousel gallery, paris
solo show consisting of Spill 1999, projection; Fall, projection; poster work and wall drawing.
Milano Europa 2000 2001 - PAC Padiglione d'Arte Contemporanea, Milano
Group exhibition showcasing new work from European artists. 'The End of the Century. The seeds of the Future'.
Works shown were Spill (1999) 16mm film and Feedback Recorded in the Artists Studio and Played Back at Random in Another Space' sound work, 2000.
Nothing (curated by Ele Carpenter and Graham Gussin) 2001 - Northern Gallery of Contemporary Art, Sunderland; Rooseum, Malmo; CAC, Vilnius; Mead Gallery, Warwick
States of Mind 2001 - New Museum, New York, new media space.
Exhibition of two works in the New Museum Media space. Works shown: Fall (7200-1) , projection with sound; Beginning and Ending at the same time, two screen video work on monitors.
On the Way to the Screen 2001 - Projection And Wall Drawing - Central House of the Artist, Moscow
An exhibition around the idea of a 'suspended' cinema or the narratives surrounding the event of a screening. Works shown were 'Fall(7200-1)' and 'Unseen Film' which was made as a commission for the show.
City: Between 0 and 1 2000 - Video Projection - Seoul Art Museum
The 1st Seoul International Media Art Biennale took the name “City: between 0 and 1,” embracing the burgeoning digital revolution that was redrawing and in fact erasing the boundary between time and space. Investigating the Korean capital city’s emergence as an intermediary and hub of networking, exhibitions were presented at a number of museums and public spaces in Seoul. Accompanying the biennial’s binary code-inspired them were many sub-themes, such as “media art 2000,” “city vision / club city,” and “subway project,” all of which reflected the desire to find a new direction through dynamic communication between the analog and the digital.
Work shown was 'Fall (7200-1)'
Intelligence. New British Art 2000 2000 - Tate Britain, London
A group survey show at the Tate Gallery. 16mm film 'Spill' show as a looped installation.
Artifice 2000 - Sound Work, Drawing - Deste Foundation, Athens, Greece
Associated with the contrived, the constructed, the inauthentic, and the unnatural, artifice is what defines all artistic creation. In this exhibition, an exploration of the status of the artificial as the antithesis of ‘nature’ or ‘truth’ is central to the approach of the 8 featured British artists. Using very different strategies and techniques, these artists focus on the complexity and uncertainty of perception, as well as on the differences and affinities between what is perceived as ‘natural’ and what is perceived as ‘artificial’. The tension between these two states has been fundamental to the history of image making. At a time when the implications of genetic modification and cloning have become a real issue, it is not surprising that the blurring of distinctions between illusion and reality should be a subject for consideration by artists.
Geographies 2000 - Chantal Crousel Gallery, Paris
Group show with artists dealing with notions of place.
British Art Show 2000 - Friutmarket gallery, Edinburgh; Southampton City Art Gallery; Cardiff; Birmingham
Survey of recent British Art
Moment 2000 - Ink Wall Drawing, Sound - Dundee Contemporary Arts, Scotland
Group show of artists dealing with time and place. Two works were show: A sound wall drawing, using a sound to generate an image or map, large scale piece. A sound work where feedback is recorded in the artists studio and played back in another space
Spill 1999 - 16mm Film - Kunsthalle, Aarhus ,denmark
Premier of new film work Spill (1999) a 12 minute 16mm film loop commissioned by ArtLab London.
The work traces the 'spilling' of huge amounts of dry ice through an abandoned building. Usually used o signify a threshold between the natural and super-natural in cinema the material becomes the subject itself, this was made partly with the question ' what happens when and effect is the subject'. It also has relations to the paintings of Casper David Friedrich, 1970's horror and science fiction films and to more contemporary use in pop culture and stadium concerts.
The work was subsequently purchased for the museum collection.
Signs of Life 1999 - Melbourne, Australia
Melbourne International Biennial
Talking: Hiroshima Art Document 1998 - Hiroshima, japan
A projection work and a sound work for a yearly exhibition held in a disused building in Hiroshima.
Any Object In The Universe 1998 - Art Now, Tate Britain
Solo exhibition of two works at the Art Now space, Tate gallery, London.
Any Object In The Universe: a sound based installation consisting of a large floor area with microphones picking up the sound of visitors footfall and relaying this through an echo unit and playing it live, the presence of the viewer becoming activated and part of the subject matter. The walls of this space were covered in sound absorbing tiles, simultaneously deadening the sound, creating a kind of 'trap' for the viewers presence or perhaps a vacuum within which they were held. the title comes from a scientific description of the vacuum formed around objects after an implosion/explosion.
The second work was a series of drawings on paper titled 'Drawings of Nothing and Nowhere'. These were geometric shapes implying space depth and horizon based on the 'Stargate' sequence from 2001: A Space Odyssey. The two works complimented each other as they both played with the notion of depth and Flattening.
Drawing Itself 1998 - London Institute Gallery, Davies street, London, UK
Questioning approaches to Drawing.
At One Remove 1997 - Pencil On Paper - Henry Moore Institute, Leeds.
An exhibition exploring the distance set between subject, author and viewer.
Works exhibited were drawings made of sound maps, where there s a conversion between sound and image, a record made but information hidden. Also show was another drawing from the series 'Islands' detailed recordings of images found in travel magazines of small islands, these deal with the desire to be elsewhere.
Europearte 1997 - Foundazione Bevilaqua La Masa, Venice
Five person International group show during the Venice Biennale 1997. Work shown was Fall(7200-1) 1996.
Graham Gussin 1996 - Wall Painting, Text, Video, Drawing - Galleria Gianluca Collica
show of works using science fiction narratives to explore ideas of time and place.
Graham Gussin 1996 - Photogrphy, Drawing, Text - Lotta Hammer Gallery London
Show of 6 new works using photography, drawing and text. Exhibition introduced a project titled 'Untitled Collection' which was the first showing of a work using science fiction story titles.
Elemental 1995 - Wall Paint, Posters - Newlyn art gallery, Cornwall, UK.
Group show celebrating the centennial of Newlyn art gallery. Four artists working with ideas of the four elements. Work shown was a large scale wall painting titled 'Radio' on the outside of the building and a poster work.
Graham Gussin 1995 - Primo Piano Gallery, Rome
New works including large scale wall text, wall drawing and photo works, exploring notions of distance.
Perfect Speed 1995 - Video, Wall Drawing - Macdonald Stewart Art centre, Quelph, Ontario: University of South Florida Contemporary Art Museum, Tampa
six British artists concerned with cinema and its reproduction. Other artists: Fiona Banner, Douglas Gordon, Sam Taylor Wood, Jacquline Donachie, Stephanie Smith. Work included was two screen video piece' Beyond the Infinite, a work using footage from Kubrick's 200:A Sapce Odyssey. 1994.
The Event 1994 - Ink An Wall, Video - 152 Brick Lane, Independent art venue.
Group show of three artists looking at time in their work. Other artists were: Fiona Banner and Bridget Smith. Work shown was large scale wall drawing and a two screen video piece titled 'Beyond the Infinite'.The video work introduced ideas concerning science fiction and its relation to conceptual art languages.
Landescapes 1994 - Video - Carignano, Torino, Italy
A group show held in an abandoned warehouse in Turin. A new work was made 'Road Movie' which is a recording of the journey from the main city airport to the exhibition space. Shown as a loop film the work plays with notions of place, distance and time while involving more narrative themes of arrival and departure.
Wall to Wall 1994 - Ink On Wall - Leeds City Art gallery
A group exhibition in three locations all of which were works made as wall drawings or wall pieces, in the UK: Serpentine gallery, London; Southampton City Art gallery; Leeds City Art gallery. My work was shown at the Leeds venue. Work shown was a sound wall drawing, using sound to make a mapped image of that sound.
Graham Gussin 1994 - Cohen gallery, New York
A collection of works based on a single location, Biosphere 2 in the Arizona Desert, USA. The location is a utopian project built during the 1980's as an experiment in self sufficiency with space exploration in mind. Works recording the place were made including drawings of the interior and a video work documentation the journey to the destination by road.
Landscape Painting 1994 - Oil Paint On Canvas - Transmission gallery, Glasgow
Group show of new work dealing with ideas of landscape, fictional and factual. Jonathan Monk, Nigel Stewart, Andrew forester, graham Gussin
A Pasta de Walter Benjamin 1993 - Antigas Moagens Harmonia, Porto, Portugal
Group show of new works made for Oporto's Festival of Contemporary Art 1993 including: Christine Borland, Douglas Gordon, Jane and Louise Wilson, Andrea Fisher, Caroline Russell. large installation works in a reconstructed disused factory on the outskirts of Porto. Work shown was 'Road Movie' a 16mm film projection shot on the journey from the airport in Oporto to the exhibition venue.
Wonderful Life 1993 - Text, Wall Drawing - Lisson gallery, London
Group show of young British artists
Graham Gussin 1993 - Chisenhale gallery, London
Landscape and location involving the physical and the theoretical experience of place.
Graham Gussin 1993 - Wall Drawing, Ink On Paper - Primo Piano gallery, Rome
Show of text, drawing and photo pieces. works included: 'Best One Hundred1990' a wall text piece listing the best one hundred destinations in the world at the time according to a public vote and a sound wall drawing , taking a sound and making an image map of that sound. Reviewed in Artforum magazine.
Love at First Sight 1992 - Mixed - Showroonm Gallery. London
A group exhibition I organised and curated for the Showroom Gallery with 24 artists.