1 May 2013

Upcoming Exhibitions

I will be showing work in In Other Words, an exhibition which explores our evolving relationship with text, language and writing. The exhibition is part of Fringe Arts Bath festival programme and is curated by artist/writer Rowan Lear (http://rowanlear.wordpress.com/). The exhibition opens on Friday 24th May until 6th June. More information and the full programme for Fringe Arts Bath can be found here:  http://www.fringeartsbath.co.uk.

I'm also very happy to have been selected for this year's Welsh Artist of the Year exhibition in St David's Hall, Cardiff. The exhibition runs from 10th June- 6th August 2013.

I'm currently coordinating an exhibition alongside artists James Green and Ellie Young; Do What You Will, This World is a Fiction. More details to follow but the exhibition will run from Friday 9th until Friday 30th August at Oriel Canfas in Canton. Watch this space!

19 Mar 2013

White Paintings

“To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images; one has started down the road of seeing more- and more. Images transfix. Images anesthetize. An event known through photographs certainly becomes more real than it would have been if one had never seen the photographs- think of the Vietnam War. (For a counter example, think of the Gulag Archipelago, of which we have no photographs.) But after repeated exposure to images it also becomes less real.”
Susan Sontag (from On Photography)

16 Mar 2013

What is the role of fiction in understanding what is 'real'?

Yesterday I attended Bedwyr William's Starry Messenger symposium in anticipation of his representation for Wales at the Venice Biennale, curated by Oriel Davies and Mostyn. There were some fantastic talks from amateur astronomers, artists experts and enthusiasts. By the end of the day I felt decidedly insignificant in the grand scheme of the universe and was reminded to look up and notice more. One of the speakers, Darryl Green, brought a beautiful book to my attention- 'The Moon: Considered as a Plant, a World, and a Satellite' by James Nasmyth. In it, were some amazing lunar photographs, all of which were fabricated as it photography wasn't advanced enough in 1874 to provide first hand documentation. These photographs of models he'd made based on his observations were therefore actually three times removed from what Nasmyth originally saw in the telescope. Fascinated by this artistic documentation which although being technically false, still offered scientific insight, it made me consider how important it was for documentation to be 'real'. Is our belief in images a choice? In this instance, it is perhaps enough that the image evokes wonder and admiration regardless of the reliability of it's origin. One question asked at the end of this discussion has given me food for thought- 

What is the role of fiction in helping to understand what is 'real'?


12 Mar 2013



natural is quite inaccurate

/completely crippled by debts has the right to keep: bailiffs/
we move about in the midst of, our ambient milieu, the space

...a voice (off)

letter by letter, a text forms, affirms itself, is confirmed, is frozen-
               immaterial; extension, the external, what is external to us, what


Deep in thought at their tables, writers are forming lines of words.


An idealised scene
                                                                   While everything found outside this,

Easily verified in practice
                                                                      (Open space)
A few other banalities
There is nothing for example, to stop us from imagining things?

Collage of George Perec text

9 Mar 2013

that written,


Adjective Consisting printed, matter.

Noun. A matter.

a television of /ˌdäkyəˈment(ə)rē/

Adjective Consisting factual that /ˌ

report. /ˌdäkyəˈment(ə)rē/

/Adjective Consisting /ˌ

pieces or pieces of a

record report.

radio / official

a factual record matter.

Noun, A .

or or of pieces other or or

or that factual printed, /ˌdäkyəˈment(ə)rē/

1 Mar 2013


Found photograph and George Perec text.

communicate: transmissie: you

Communicate: Transmissie: You
Carbon on paper (concertina book)
Dimensions variable (A5)

English- Afrikaans- Albanian- Arabic- Armenian- Azerbaijani- Basque- Belarusian- Bengali- Bulgarian- Catalan- Chinese- Croatian- Czech- Danish- Dutch- Esperanto- Estonian- Filipino- Finnish- French- Galician- Georgian- German- Greek- Guajarati- Haitian Creole- Hebrew- Hindi- Hungarian- Icelandic- Indonesian- Irish- Italian- Japanese- Kannada- Korean- Lao- Latin- Latvian- Lithuanian- Macedonian- Malay- Maltese- Norwegian- Persian- Polish- Portuguese- Romanian- Russian- Serbian- Slovak- Slovenian- Spanish- Swahili-Swedish- Tamil-Telugu- Thai- Turkish- Ukrainian-Urdu- Vietnamese-Welsh-Yiddish-English

The word 'communicate' is translated using an internet translation service 66 times, from Afrikaans to Yiddish and back to English again, where the end result transpires as the word 'you'. The type-face words are reproduced by hand using carbon paper, a material that describes repetition and trace.  The concertina book format is read on both sides, becoming sculptural in it's form and providing a gradual development of language as information gets manipulated and eventually, lost in translation.

9 Jan 2013

Elbow Room/ Intercourse

This body of work for ‘Intercourse’ explores how documentation commemorates, changes or creates experience, with particular interest in the discrepancies between first and second-hand information. Collectively, lived experience is largely interpreted through an intermediate documentary source such as the media, or word of mouth. A document of an event is inevitably subjective, leaning in a particular direction as information is edited, emphasised and omitted, knowingly or otherwise. No one medium- be it photography, painting, text or sound- can ever be trusted to accurately represent an experience. It can only ever interpret, translate or refer. A document is always something else: an edit, a reconstruction. 

I am interested in the trust we put into the media to document the world around us. These investigations have led me down a number of lines of enquiry, with a developing interest in text and how context affects meaning.  One piece uses the introductory transcript of Orson Welles’ adaptation of the War of the Worlds for radioDeliberately timed so that its audience tuned in after a popular show on another channel was over, therefore missing the introduction of the broadcast as a radio play, the recording (allegedly) sent America into frenzy at the prospect of alien invasion. In other work I looked at historical events that were associated with iconic imagery. There are several conspiracy theories and accusations of the 1969 Moon Landing having been staged for political gain. The ink drawings are stills from a scene that supposedly proves this trickery. 

Experiences are remembered, retold, rewritten and repeated and so-called ‘facts’ are lost or obscured, strengthening the credibility of misinformation in the process. My brief was to ask the question, How can you document an experience? I have found myself exploring the ways in which creating a ‘true’ document is unattainable and perhaps in some cases, unnecessary. 


Intercourse is a project curated by Elbow Room, which investigates participatory practice.

Intercourse was first presented at Experimentica 1.1 festival in Chapter Arts Centre, Cardiff in 2011. The intention was that Intercourse would be an ongoing discussion with the outcomes and conversations generated by its presentation informing a future programme of events, artworks and dialogues.

This second phase was initiated to further develop Intercourse as a series of events in creative partnership with venues, organisations and artists. Through these we wish to explore in more detail the nature of participation, shared experience and interactive engagement. This will happen mainly through the process and realisation of projects by artists and artist groups who have public participation, engagement and interaction at the core of their practice. The project artists are Ania Bas, Freya Dooley, Tiff Oben and artist group B.R.G. 

Elbow Room is interested in the broad consideration of questions such as:

· Is there any intrinsic value of public engagement with visual art projects?
· What makes artists want to engage with their audience?
· Can any benefits of these projects be effectively and innovatively measured?
· Can these projects and experiences be effectively and creatively documented?
· What are the moral and ethical considerations when ‘manipulating’ an audience?
· Who is the audience and is it important to define authorship?

The project is structured in the form of a practice-led research group which will bring together the commissioned artists, Elbow Room, other collaborators and the public, each of whom will investigate a strand or area of the overarching themes through their practice. The project will be a series of events and interventions culminating in a seminar/event in Spring 2013. The event will place the outcomes of the artists’ research (possibly in the form of performance, presentations or other interventions) in dialogue with one another and with speakers from different professional fields that have a common or overlapping focus.

Elbow Room are a group of three creative practitioners based in Cardiff, whose aim is to provide the space, capacity and opportunity to make and experience art in public places. Working primarily with visual artists, our focus is to develop creative activity through a collaborative, open and engaged approach. We aim to advocate for and forward contemporary practice and thinking in the field of art in the public realm through projects that encourage exploratory approaches to the integration of art into 'everyday life'.