More or Less Present, Sometimes Unnoticeable

More or Less Present, Sometimes Unnoticeable
at The Great Medical Disaster, Manchester, UK

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)
Sprayed steel rods, modular fittings, hand-printed silk, audio on mini speakers, Dims variable. (seen here at Trigon 67/17, KM Graz)

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)
Sprayed steel rods, modular fittings, hand-printed silk, audio on mini speakers, Dims variable. (seen here at Trigon 67/17, KM Graz)

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)

Diamond Cuts: Sea of People (With Tina Gverović. Audio element by Alexis Taylor)
Sprayed steel rods, modular fittings, hand-printed silk, audio. Dims variable. (seen here at Trigon 67/17, KM Graz)

Open Air (With Tina Gverović. Commissioned by Künstlerhaus – Halle für Kunst & Medien, Graz)

Open Air (With Tina Gverović. Commissioned by Künstlerhaus – Halle für Kunst & Medien, Graz)
Dispersion paint directly on wall (for exhibition entitled Trigon 67/17, at KM Graz)

Open Air (With Tina Gverović. Commissioned by Künstlerhaus – Halle für Kunst & Medien, Graz)

Open Air (With Tina Gverović. Commissioned by Künstlerhaus – Halle für Kunst & Medien, Graz)
Dispersion paint directly on wall (for exhibition entitled Trigon 67/17, at KM Graz)

ongoing

ongoing

poster

poster

this way comes (gallery Flora, Dubrovnik - one-night event)

this way comes (gallery Flora, Dubrovnik - one-night event)
dip-dyed paper with photocopy print, paint directly on floor. one small line of text on six separate sheets

this way comes (gallery Flora, Dubrovnik - one-night event)

this way comes (gallery Flora, Dubrovnik - one-night event)
dip-dyed paper with photocopy print, paint directly on floor. one small line of text on six separate sheets

this way comes (gallery Flora, Dubrovnik - one-night event)

this way comes (gallery Flora, Dubrovnik - one-night event)
dip-dyed paper with photocopy print, paint directly on floor. one small line of text on six separate sheets

this way comes (gallery Flora, Dubrovnik - one-night event)

this way comes (gallery Flora, Dubrovnik - one-night event)
dip-dyed paper with photocopy print, paint directly on floor. one small line of text on six separate sheets

poster

poster

Who's There?

Who's There?
Korean Cultural Centre, Vienna

'Who's There?' (details)

'Who's There?' (details)
screen-printed fabric, clay, yoga blocks

'Who's There?'

'Who's There?'
screen-printed fabric, clay, yoga blocks

'Who's There?' (details)

'Who's There?' (details)
screen-printed fabric, clay, yoga blocks

'Who's There?' (details)

'Who's There?' (details)
screen-printed fabric, clay, yoga blocks

The conjurer (No.2) - Community Centre, Janjina, Croatia

The conjurer (No.2) - Community Centre, Janjina, Croatia
tablecloths, tables, tomatoes, plastic cups

The conjurer (No.2) - Community Centre, Janjina, Croatia

The conjurer (No.2) - Community Centre, Janjina, Croatia
tablecloths, tables, tomatoes, plastic cups

Not A Ruin. (with Tina Gverović)

Not A Ruin. (with Tina Gverović)
paper, stones, paint. Visura Aperta 2017, Janjina

Not A Ruin (with Tina Gverović)

Not A Ruin (with Tina Gverović)
paper, stones, paint. Visura Aperta 2017, Janjina

Not A Ruin (with Tina Gverović)

Not A Ruin (with Tina Gverović)
paper, stones, paint. Visura Aperta 2017, Janjina

Not A Ruin. (with Tina Gverović)

Not A Ruin. (with Tina Gverović)
paper, stones, paint. Visura Aperta 2017, Janjina

Not A Ruin (with Tina Gverović)

Not A Ruin (with Tina Gverović)
paper, stones, paint. Visura Aperta 2017, Janjina

The Person Next to You

The Person Next to You
double-sided offset print (ed. 100)

The Person Next to You

The Person Next to You
double-sided offset print (ed. 100)

suspended material - surface tests

suspended material - surface tests

suspended material - surface tests

suspended material - surface tests

suspended material - surface tests

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space
tailored fabric, powder-coated scaffolding tube, various metal armatures

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space
tailored fabric, powder-coated scaffolding tube, various metal armatures

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space
tailored fabric, powder-coated scaffolding tube, various metal armatures

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space
tailored fabric, powder-coated scaffolding tube, various metal armatures

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space

from a series of images: Committed to Productivity - Proposed Arrangement for Objects in a Space
tailored fabric, powder-coated scaffolding tube, various metal armatures

Croatian Pavilion, Venice Biennale (with Tina Gverović)

Croatian Pavilion, Venice Biennale (with Tina Gverović)
detail. Photo credit: Damir Žižić

Croatian Pavilion, Venice Biennale (with Tina Gverović)

Croatian Pavilion, Venice Biennale (with Tina Gverović)
detail

Croatian Pavilion, Venice Biennale (with Tina Gverović)

Croatian Pavilion, Venice Biennale (with Tina Gverović)
acrylic on canvas, blocks (stone, glass, brick), 2 flat screens in bespoke steel display units. Photo credit: Damir Žižić

Croatian Pavilion, Venice Biennale (with Tina Gverović)

Croatian Pavilion, Venice Biennale (with Tina Gverović)
acrylic on canvas, blocks (stone, glass, brick), 2 flat screens in bespoke steel display units. Photo credit: Damir Žižić

Croatian Pavilion, Venice Biennale (with Tina Gverović)

Croatian Pavilion, Venice Biennale (with Tina Gverović)
acrylic on canvas, blocks (stone, glass, brick), 2 flat screens in bespoke steel display units. Photo credit: Damir Žižić

Conjurer (street)

Conjurer (street)
cardboard, paint, plasticine, glass. Photo credit: Damir Žižić

Conjurer (street)

Conjurer (street)
cardboard, paint, plasticine, glass. Photo credit: Damir Žižić

March of Material (with Tina Gverović). Bespoke powder-coated steel support, digital prints on silk

March of Material (with Tina Gverović). Bespoke powder-coated steel support, digital prints on silk
from the exhibition Collage from the Highway by T.Gverović/S.Ilić, at Stan Softić, Zagreb. photo credit: Damir Žižić

March of Material (details)

March of Material (details)

co-

co-
double-sided offset print

untitled (mat A)

untitled (mat A)
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat A) - detail

untitled (mat A) - detail
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat C)

untitled (mat C)
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat C) - detail

untitled (mat C) - detail
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat D)

untitled (mat D)
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat D) - detail

untitled (mat D) - detail
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat B)

untitled (mat B)
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

untitled (mat B) - detail

untitled (mat B) - detail
dyed fabric, yoga block, two-tone painted wood, granite-effect painted wood, ash, marble sphere, bespoke sleeves

Physical Conditions - detail

Physical Conditions - detail
sprayed / lacquered steel, waxed-polished jesmonite

Physical Conditions - at White Crypt, Oval

Physical Conditions - at White Crypt, Oval
sprayed / lacquered steel, waxed-polished jesmonite

Hold That Position

Hold That Position
digital print on fabric, each c/a 200 x 300cm

install shot from Again, it Objects

install shot from Again, it Objects
Supplement (New York) Photo credit: Greg Carideo

Twister

Twister
sawdust-fired waxed and polished ceramic, digital print on neoprene

Twister - detail

Twister - detail
sawdust-fired and wax-polished ceramic, digital print on neoprene

We Work

We Work
transparent helium balloon, black ribbon, marker pen, white A4 paper

We Work (hold that position)

We Work (hold that position)

Factory Floor (model), detail

Factory Floor (model), detail
90x90cm, digital print on French Crepe, glass spheres

Factory Floor (model), Installed at Further Material, White Crypt

Factory Floor (model), Installed at Further Material, White Crypt
90x90cm, digital print on French Crepe, glass spheres

support beats defeat (working)

support beats defeat (working)
Performer: Argyro Vlachaki

support beats defeat (working)

support beats defeat (working)
performers: Olivier Kitenge and Argyro Vlachaki

Work System (Factory Floor No.1)

Work System (Factory Floor No.1)

Machine Material to be Processed

Machine Material to be Processed
Fitness First

Designed Distance (No.3)

Designed Distance (No.3)
from a series of 5 hand-painted plastic objects. Height 6cm

Designed Distance (No.3)

Designed Distance (No.3)
from a series of 5 hand-painted plastic objects. Height 6cm

sleeve tests

sleeve tests
bespoke shirt sleeves

sleeve tests

sleeve tests
bespoke shirt sleeves

Bodies and Things

Bodies and Things
photo credit: Damir Žižić

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor
French Pavilion, Zagreb, Croatia. Photo credit: Nikola Kupresanin

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor
French Pavilion, Zagreb, Croatia. Photo credit: Nikola Kupresanin

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor
French Pavilion, Zagreb, Croatia

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor

Bodies and Things, Lost and Found. With Tina Gverovic and Alexis Taylor
French Pavilion, Zagreb

acting stones

acting stones
fired, glazed and sand-blasted ceramic

acting stones

acting stones
fired, glazed and sand-blasted ceramic

acting stones

acting stones
from a series of fired, glazed and sand-blasted ceramic, various sizes (c/a 10-30cm diameter)

Human Resources Rehearsals (No.1)

Human Resources Rehearsals (No.1)

forthcoming

forthcoming

Untitled - 1'39" Pro Res Loop

Untitled - 1'39" Pro Res Loop
a series of fabric shapes falling/rotating

Stationary Plan

Stationary Plan
using all the available pens

Stationary Plan - detail

Stationary Plan - detail

Stationary Plan

Stationary Plan
using all the available pens

Bonework by David Price

Bonework by David Price
an account of Stationary Plan (with Work it to the Bone)

Kit No.1

Kit No.1

accompaniment

accompaniment
something that supplements or complements something else (e.g. objects)

poster for university cafe

poster for university cafe
A0 print on paper of an email from UCU sent to all employees in the building where the poster is placed. Amongst other things the email alerts readers to the sharply increased rise in stress-related illness within employees, suggests causes for this change, and offers advice on how to recognise symptoms.

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle. Curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle. Curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle. Curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle. Curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle, curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials)

Training for Industry (Persons and Materials)
at the Mining Institute, Newcastle, curated by Josh Wilson, and performed by Peter Kerry-Forbes

Training for Industry (Persons and Materials) - flyer for performance @ Mining Institute, Newcastle

Training for Industry (Persons and Materials) - flyer for performance @ Mining Institute, Newcastle
image taken from Images of Industry by Ian Forbes

workout (test)

workout (test)

Post-Work-Out-Fall-Out

Post-Work-Out-Fall-Out

Private Training Session

Private Training Session

test for Gym Class Fallout

test for Gym Class Fallout

Bodywork

Bodywork
install shot

Bodywork - detail

Bodywork - detail
Weighing scales, mannequin limbs (resin), Vaseline, clay, sun cream, bespoke shirt sleeves, spray paint. 2016

Bodywork

Bodywork
Weighing scales, mannequin limbs (resin), Vaseline, clay, sun cream, bespoke shirt sleeves, spray paint. 2016

An Outstretched Finger (Loop) - detail

An Outstretched Finger (Loop) - detail
Offset print on paper (ed. 100), with clear gloss laminate coating over text

An Outstretched Finger (Loop)

An Outstretched Finger (Loop)
install shot

An Outstretched Finger (Loop)

An Outstretched Finger (Loop)
Offset print on paper (ed. 100), with clear gloss laminate coating over text

Parts

Parts
Gallery Flora, Dubrovnik.

Solid Makeover - detail

Solid Makeover - detail
40 x 30 cm. Pigment, plaster, concrete, sand. 2016

Solid Makeover (swatches No. 2 and 3)

Solid Makeover (swatches No. 2 and 3)
40 x 30 cm (x2). Pigment, plaster, concrete, sand. 2016

Makeover - detail

Makeover - detail
40 x 30 cm (x3). Wall-based relief. Pigment, plaster, concrete, sand. 2016

Makeover

Makeover
40 x 30 cm (x3). Wall-based relief. Pigment, plaster, concrete, sand. 2016

The Average Weight of 10 People in Dubrovnik - install shot

The Average Weight of 10 People in Dubrovnik - install shot
Weighing scales, rock, marble, pencil on A4 paper. 2016

The Average Weight of 10 People in Dubrovnik

The Average Weight of 10 People in Dubrovnik
Weighing scales, rock, marble, pencil on A4 paper. 2016

It Didn’t Have Anything At All

It Didn’t Have Anything At All
Extract from the Blue Notebook No2 by Daniil Kharms - Photocopy on grey A4 paper.

work tools

work tools

work tool pleasure instrument song

work tool pleasure instrument song
from a series of very small photographs

font test by Åbäke

font test by Åbäke
font made of water - developed for a specific piece of text

preparation

preparation
adapted from Daniil Kharms, Blue Notebook No.2

The Average Lengths of Parts. 18mm powder-coated steel rods

The Average Lengths of Parts. 18mm powder-coated steel rods
The Average Lengths of Parts: The Average Length of The Right Leg of 31 People in Lancaster, The Average Length of The Right Arm of 20 People in Urbino, The Average Length of The Right Index Finger of 24 People in Leeds

The Average Lengths of Parts. 18mm powder-coated steel rods

The Average Lengths of Parts. 18mm powder-coated steel rods
The Average Lengths of Parts: The Average Length of The Right Leg of 31 People in Lancaster, The Average Length of The Right Arm of 20 People in Urbino, The Average Length of The Right Index Finger of 24 People in Leeds

potential material

potential material
Yoga blocks

Practical Training

Practical Training
digital animation, fabric, print on lycra

Practical Training (detail)

Practical Training (detail)
print on lycra

Practical Training (detail)

Practical Training (detail)
@ Supplement

Practical Training

Practical Training
powder-coated 18mm steel rod, bespoke shirt sleeves, vinyl flooring

Practical Training (detail)

Practical Training (detail)
@ Supplement

Practical Training (detail)

Practical Training (detail)
powder coated 18mm steel rod, vinyl flooring, bespoke shirt sleeves

Practical Training (detail)

Practical Training (detail)
@ Supplement

Practical Training - Average lengths

Practical Training - Average lengths
@ Supplement

Practical Training (detail)

Practical Training (detail)
breath on glass - text on business card (100 copies)

Practical Training

Practical Training
@ Supplement

Practical Training (detail)

Practical Training (detail)
powder-coated 10mm steel rod, starched shirt sleeves

Practical Training (detail)

Practical Training (detail)
projected digital animation (loop)

Audience Behaviour

Audience Behaviour

Audience Behaviour

Audience Behaviour

human performance

human performance

Words Words Words

Words Words Words
1:1 scale screenprint copy of a folded offset print. 48 x 68cm, on 300gsm paper

Average Lengths of Groups (detail)

Average Lengths of Groups (detail)
solid brass 12mm rod with engraved text (e.g. The Average Length of the Right Arm of a Group of 20 People in Urbino), various lengths

Average Lengths of Groups (Leeds, Lancaster, Urbino)

Average Lengths of Groups (Leeds, Lancaster, Urbino)
solid brass 12mm rod with engraved text, various lengths

Obstacle (version 1)

Obstacle (version 1)
London brick, solid brass rod, paint

Obstacle (version 3)

Obstacle (version 3)
London brick, solid brass rod, paint

Obstacle (version 3 - detail)

Obstacle (version 3 - detail)
London brick, solid brass rod, paint

Arms No.439

Arms No.439
from a series of hand-made shirt sleeves

Arms No.439 (detail)

Arms No.439 (detail)
from a series of hand-made shirt sleeves

Production Techniques

Production Techniques
study for animation

Absent-Minded Exercise

In the course of absentmindedly running a finger along a surface, and in so doing measuring heat or sensing texture, one might be thought to be ‘being affected by’ environment, space, material; and at the same time and with the same finger one might inadvertently clean the same surface while also leaving a trace of oil from your skin thereby impacting upon, or affecting, that same environment. Is this some form of micro-relationship? How might this moment of simultaneously affecting and being affected by -both equally active states- be recorded and amplified? Minute but nevertheless tangible and vital forms of affect may be unsolicited, involuntary – perhaps this is a form of disinterested or passive affect?

In fields of art making where ‘participatory practice’ implies the audience’s ‘active’ role in producing, for example the production of a subject (the audience themselves?), there’s an increasingly pressing need to qualify the nature of that productivity. This need arises out of a more general demand for our (i.e. a viewer, client, consumer, user, operator, producer, or all of these at once) productive engagement with an infinite variety of fields where people come into contact with other matter, data, people, objects, and subjects. So one question might be about the nature of the active and/or productive relationship between people and things, people and people, and people and materials. Do those relationship generate capital or exchangeable data, and can that data be monetarized? And anyway who’s doing the acting? When does that relationship generate a space of self- or community-realisation, which in turn might have a capacity to liberate or make powerful, or promise ‘mutual-support’ as an outcome, for example? When people are consumers are encouraged to recognise themselves as consumers who should present themselves as products, who really benefits from all that productivity?

With the omnipresence of ‘activity’ and ‘interactivity’, and the time for work-time both expanding and becoming denser, passivity becomes more attractive. The attraction lies in its potential to offer rest, down-time, but also a space for undetermined speculation, a space for potential itself. ‘Active engagement’ used to imply political assertion, partaking in the production of society, investment in change, perhaps even caring for things, people and ideas regardless of whether or not they impact directly upon ones own life. How do we consolidate those positive associations with ‘action’ on the one hand with a desire for passivity on the other? However activity and passivity aren’t mutually exclusive terms, just like subject/object and author/audience. It might well be that in some cases being passive, refusing to act, constitutes, conversely, a form of activity, and vice versa. When tireless activity, self-exploitative working patterns, and the constant assertion of our own subject-hood might seem to define our contemporary landscape, then recognising passivity as vital, generating spaces for passivity, and choosing when or how to adopt a passive position might be increasingly necessary. The question of who can actually afford to practice passivity might then follow, but that stands alongside the question of who can’t.

‘In the era of biopower, what bodies are meant to produce is essentially their own economically productive lives – integrally self-converting into human capital. Life itself has become integrally capital-intensive’ (Massumi, Politics of Affect). The effects of excessively competitive and self-exploitative patterns of work arguably take root in the body. Immaterial or cognitive labour materializes, if anywhere, in or on the body, e.g. skin, eyes, limbs, joints, nerves, hair. Functioning as something of an antidote to a backdrop of ever-present activity or productivity, in the book Technologies of the Self Foucault talks about learning how to effectively take care of oneself, and in discussing this form of care, he quotes Marcus Aurelius, ‘I did little work, and that to no purpose’. So small-scale, seemingly purposeless work, or perhaps work that is done when we’re not at work or not really working at all is upheld as being valuable, and seems to be equivalent to a kind of ‘taking care’. Perhaps this ‘little work of no purpose’ can also be associated with a form of passivity?

There are three areas that I’m linking here - the active and passive nature of ‘affect’, signs of contemporary work on the body, and a notion of caring for oneself and others. I want to consider the ways in which these areas might be co-dependent.

machine no.3

machine no.3

Lip Drop

Lip Drop

Loop No.9

Loop No.9
video loop, no sound

Loop No.7

Loop No.7
video loop, no sound

untitled

untitled

untitled

untitled

Our Own Time

Our Own Time
50 x 70cm offset print on paper

Material Conditions: Refuse, Reserve, Rest, Restrain

Material Conditions: Refuse, Reserve, Rest, Restrain
ash, marble dust, pigment (burnt umber), tools, materials - 420 x 420cm

Material Conditions: Refuse, Reserve, Rest, Restrain

Material Conditions: Refuse, Reserve, Rest, Restrain
ash, marble dust, pigment (burnt umber), tools, materials - 420 x 420cm

installation detail

installation detail

ash, marble dust and pigment scattered evenly over various tools and materials

ash, marble dust and pigment scattered evenly over various tools and materials
detail

oblivious instrument No.1

oblivious instrument No.1
digital animation (endless)

diagram - audio track for animation

diagram - audio track for animation

Gym Body No.1

Gym Body No.1

Averages Chart No.2

Averages Chart No.2

Release Exercise (No. 1 + 2)

Release Exercise (No. 1 + 2)
Pro-Res animation, loop with sound

workout circuit

workout circuit

untitled blue material

untitled blue material

absentminded exercise

absentminded exercise

print on silk

print on silk

arm on arm on arm (silk)

arm on arm on arm (silk)

Companions (room 2)

Companions (room 2)
image credit - Jonathan Lynch

Companions (room 2)

Companions (room 2)
image credit - Jonathan Lynch

Companions (room 3)

Companions (room 3)
image credit - Jonathan Lynch

Companions - Room 1

Companions - Room 1
@ Grundy Art Gallery

Companions - Room 2

Companions - Room 2
@ Grundy Art Gallery

Companions - Room 3

Companions - Room 3
@ Grundy Art Gallery

4cm Solid Oak board with CNC-cut troughs for 10 bespoke hand-turned handles

4cm Solid Oak board with CNC-cut  troughs for 10 bespoke hand-turned handles
Tool Table, 2013-15

something to keep in mind

something to keep in mind

Backdrop

Backdrop

armclock

armclock
4 channel HD video animation

Being A Poster, 2015

Being A Poster, 2015
for Turf Projects, Croydon

arm-chairs

arm-chairs
powder coated steel rod with starched shirt sleeves

arm-chairs

arm-chairs
powder coated steel rod with starched shirt sleeves

The approximate average length of an arm in a group of 20 people that I met in Urbino during Summer

The approximate average length of an arm in a group of 20 people that I met in Urbino during Summer
a 72.43cm length of 4mm wooden dowel

detail

detail

wall-floor low-key filler

wall-floor low-key filler

wall meets floor filler

wall meets floor filler
glazed ceramic

studio work

studio work

arm on arm on arm (red)

arm on arm on arm (red)

arm on arm on arm

arm on arm on arm
digital photographs on archive paper

urgent notice

urgent notice

The Theatrical Technique… (one night only)

poster used for Theatrical Technique...

poster used for Theatrical Technique...

The Theatrical Technique of Suggesting Action

details

details

Group Work, 2015. Resource at Bluecoat

Group Work, 2015. RESOURCE at Bluecoat

Just a Resource, 2015. Resource at Bluecoat

The Material Said Nothing

Zagreb - Forum Gallery

Zagreb - Forum Gallery
titles

The Material Said Nothing

The Material Said Nothing
seven floor-based panels, inc. print on fabric, sound and text (photocopy)

Figure Finger...

Figure Finger...
Photo credits: Ben Cain, Figure Finger Figure Finger Figure Figure Finger, 2015. Photo by Original&theCopy. Courtesy of the artist and Tenderpixel.

Figure Finger

Figure Finger
Photo credits: Ben Cain, Figure Finger Figure Finger Figure Figure Finger, 2015. Photo by Original&theCopy. Courtesy of the artist and Tenderpixel.

Figure Finger...

Figure Finger...
Photo credits: Ben Cain, Figure Finger Figure Finger Figure Figure Finger, 2015. Photo by Original&theCopy. Courtesy of the artist and Tenderpixel

Figure Finger...

Figure Finger...
Photo credits: Ben Cain, Figure Finger Figure Finger Figure Figure Finger, 2015. Photo by Original&theCopy. Courtesy of the artist and Tenderpixel.

figure-finger painting in progress

figure-finger painting in progress

Open Source

Open Source
with Mary Hurrell, curated by Gareth Bell-Jones

In My Head I'm Still a Tree

In My Head I'm Still a Tree
hand painted bespoke hardwood brooms

In My Head I'm Still a Tree

In My Head I'm Still a Tree
detail

what it knows

what it knows
temporary site - basement in New Cross. Photo Credit: John Henry Newton

Group Work No.2

Group Work No.2
from a ongoing series: sets of same-size pieces of hardwood, sprayed/lacquered/hand painted

posters for party

posters for party

studio work

studio work
thanks to Levana, Mar, and Miguel

Saying No

Saying No
detail - HD digital animation

Rough Rules

Rough Rules
rules

Rough Rules

Rough Rules
5-6 people build according to the rules laid out above, using only sticks and masking tape, and deciding themselves how to interpret the rules, they must rely upon each other.

Radio City

Radio City
@ Tate Britain

sources/samples

sources/samples

Long Liner

pink oval

from a series of 5

from a series of 5
screenprint on marble (70 x 100cm)

prep for book

prep for book

prep for book

prep for book

My Vocabulary Did This To Me @ SLG

My Vocabulary Did This To Me @ SLG
oak, graphite, A5 mono print

My Vocabulary Did This To Me @ SLG

My Vocabulary Did This To Me @ SLG
oak, graphite, A5 mono print

My Vocabulary Did This To Me @ SLG

My Vocabulary Did This To Me @ SLG
oak, graphite, A5 mono print

tests

tests

Script for A Stage Before

A Stage Before

A Stage Before (detail)

A Stage Before (@ Supplement)

Touch to Toe Test

Touch to Toe Test
Wood with Spray/Lacquer finish

Rolling Two Stones in Her Hand

Rolling Two Stones in Her Hand
performance with Jesse Ash, CRAC Alsace

Rolling Two Stones in Her Hand

Rolling Two Stones in Her Hand
Performance with Jesse Ash for A Stuttering Exhibition, CRAC Alsace

let's think about this together (detail)

let's think about this together (detail)

"Grad je mrtav. Živio Grad!"

let's think about this together

let's think about this together
location: Dubrovnik old town

let's think about this together

let's think about this together

We Just Arranged Ourselves

We Just Arranged Ourselves
inc. stone discs, wooden beams, blackboard panels

proposal for a wall drawing (extract)

proposal for a wall drawing (extract)

We Are Just Doing Absolutely Whatever We Want To Now

We Are Just Doing Absolutely Whatever We Want To Now
photo credit: Marko Ercegović

from Short Falls (colour)

from Short Falls (colour)
photography by Museum of Contemporary Art Belgrade. Produced for Turnovers (jointly organised by Tate Modern and MoCAB)

Short Falls (colour)

Short Falls (colour)
photography by Museum of Contemporary Art Belgrade. Produced for Turnovers (jointly organised by Tate Modern and MoCAB)

Short Falls (from series of chemical-process photographs)

Short Falls (from series of chemical-process photographs)
photography by Ivan Petrović

Short Falls (fabric)

Short Falls (fabric)

Short Falls (install detail)

Short Falls

Short Falls
2' video (loop)

tests

tests

Private Dancer

Private Dancer
Hand painted and Lacquered wood

Private Dancer

Private Dancer

Tool Circle

Tool Circle
donated hand-held tools, and hand-held tools found in ex-factory and Tetley archive. Installed on a former site of the Tetley Brewing company, Leeds. Dimensions: variable; but here the diametre is 10m.

Tool Circle

Tool Circle

Three Steps Rolling (A4)

Three Steps Rolling (A4)
photocopy on A4 paper (c/a 800 sheets)

Handle

Handle
20 hand-turned pieces of Ash, with bespoke brass fixtures

Three Steps Rolling

Three Steps Rolling
15m print, bespoke metal stands, concrete/marble dust rods

-/-/-/-/-

-/-/-/-/-
from DownTime at The Tetley

-/-/-/-/-

-/-/-/-/-
inc. sand, ceramics, paint, wooden board, 1000 watt spotlight

Rebecca (dia positive)

Rebecca (dia positive)
inc. 2x 35mm slide projects with cross-fade

Piecemeal (detail)

Piecemeal (detail)
from DownTime at The Tetley, Leeds

Piecemeal (detail)

Piecemeal (detail)
from DownTime at The Tetley, Leeds

Rebecca

Rebecca

untitled

untitled

untitled

untitled

prep

prep
from a set of ten

Work Into Stone Into Work Into Stone

Work Into Stone Into Work Into Stone
Screenprint on sheets of marble and 600gsm paper

work-into-stone-into-work-into-stone

Hand-Held

Hand-Held

Next Step

Next Step

Lucy Pawlak

Lucy Pawlak
Drone: Fernando in London acts as a medium for Lucy in Warsaw

Come On Body

Come On Body

3 Steps Looped (test)

3 Steps Looped (test)

3 Steps Looped

3 Steps Looped

3 Steps Looped (test)

3 Steps Looped (test)

work in progress

work in progress
fabricated by Lee Cartledge

sorry no breaks

sorry no breaks

(Text for wooden beams)

we’re in a delicate phase right now
we’re a fragile state
no time to talk, sorry
well, you’re not really supposed to, really familiarise yourself with the tools

thanks
put away the tools
thank you
we’re not sure when we’ll be done
we’re there now, we’re here now though, thanks nearly there, thanks
we’re there already, thanks
how long will that take then
can you come in tomorrow
it’s all here, it just needs a tweak
we’d like you’re input by Tuesday
how do you want to do this
when can we leave
can objects retire
sorry we can’t wait any longer
its very noisy, all these machines everywhere, sorry you’ll get the hang of it
hang up
make it stop, thanks
just leave it with us, thanks
we’re taking shape, don’t watch
it’ll take shape by the end of the day
its loosing shape now, see
we’re waiting for the parts
brushing, rolling, spraying, brushing, rolling
we should have left hours ago
we should have left years ago
you should have left by now
harder, now softer, thanks
shake it, shake it harder
its, you know, just don’t
please, you know
we’re beginning to shake
just a bit of slack
a bit more
loosen your grip
we wish you’d loosen your grip
trembling, can’t help it
we can’t help it
suddenly we’ve not a word to say, that’s hard there’s nothing we can do about it
all these processes to get here
turn turn again, turn again
just think of it as a rehearsal, just relax
just let it, you know
loosen your grip, please
we’ve been here all day
we’ve been here all night long
day in, day out, rain and shine
we just can’t, sorry
that’s what’s left
that’s what’s left of it
we’re what remains of it
do it and pass it on
stand back, thanks
lay them down
you don’t have to hold, touch, anything
you don’t, you know
just be close, thanks
just be near, thanks
please don’t
we’ve been through this
sorry
sorry no breaks
learning new tricks is what we do
don’t mind us
no breaks thanks
just look, no hands
thanks, sorry
it’s constant
hum
we’re various tones
that’s it
that’s all
yes, thanks

Art Sheffield 13

Art Sheffield 13
detail - work in progress

Art Sheffield 13

Art Sheffield 13
detail - work in progress

studio work - ongoing

studio work - ongoing

studio work - ongoing

studio work - ongoing

What Will We Do For Work Now, 2012

What Will We Do For Work Now, 2012
detail

What Will We Do For Work Now, 2012

Soundspill, Zabludowicz Collection, New York

Soundspill, Zabludowicz Collection, New York
Commission - multichannel sound work

Sundspill - preparation

Sundspill - preparation

this is the sound of... (in progress)

from performance at Site Gallery, Sheffield

We Are A Rock (Revised) 2013

We Are A Rock (Revised) 2013

Objects That Do, and Objects That Don't. 2013 (sand, screenprinted wooden boards, posters)

Objects That Do, and Objects That Don't. 2013 (sand, screenprinted wooden boards, posters)
Words to be spoken aloud (Curated by Nicole Bachmann and Ruth Beale), Turner Contemporary

Objects That Do, and Objects That Don't. 2013 (sand, screenprinted wooden boards, posters)

Objects That Do, and Objects That Don't. 2013 (sand, screenprinted wooden boards, posters)
Words to be spoken aloud (Curated by Nichole Bachmann and Ruth Beale), Turner Contemporary

Year

Year
extract from publication contribution

Based on a poem by Luko Paljetak

What Will We Do For Work Now. 2012

What Will We Do For Work Now. 2012
Photo: Mark Blower

What Will We Do For Work Now. 2012

What Will We Do For Work Now. 2012
House of Leaves, David Roberts Art Foundation

We Are A Rock (Revised) 2013

We Are A Rock (Revised) 2013

Booklaunch for By-Product

Booklaunch for By-Product
Wiels, 2012

extract in situ

extract in situ
...if an object is acted upon by another object it will stay at a constant speed with zero acceleration until acted upon by another object.



Say Our Name -PROTOTYPE- (painted wooden handles, sound)

Say Our Name -PROTOTYPE- (painted wooden handles, sound)
Duration @ APT gallery, curated by Rose Lejeune

We Call This Work

We Call This Work
Busan Biennale 2012

We Call This Work (5 x 5 metres, fired and glazed elements)

We Call This Work (5 x 5 metres, fired and glazed elements)
Busan Biennale 2012

Preparation for Busan Biennale 2012

Preparation for Busan Biennale

Photo: Scott Eastman (detail from Dear Doing)

Photo: Scott Eastman (detail from Dear Doing)

Private Play

Private Play
Poster (hand-painted - ink on paper) Performance - passers by are asked to release the camera shutter as the artist holds the poster up for the camera, and therefore also the passer-by. Visby, Gotland 2012

Useless Behaviour

Useless Behaviour
10 minute digital animation (loop) - circles slowly move within the confines of the panoramic screen, rebounding off each other, and the edges of the frame

Dear Doing,

Dear Doing,
Photo: Scott Eastman (Brukenthal Museum, Sibiu, Romania. Curated by Formcontent) Dimensions variable, inc. Red brick walls (with cement), hand-written posters, 2 photographs on archive paper 2012

Dear Doing,

Dear Doing,
Photo: Scott Eastman (Brukenthal Museum, Sibiu, Romania. Curated by Formcontent) Dimensions variable inc. Red brick walls (with cement), hand-written posters, 2 photographs on archive paper 2012

Untitled

Untitled
Frames from a 10min HD video (loop), with sound

Manifesta9

Manifesta9
Dimensions variable. Includes hand-painted (marble) plywood beams, machine, 4 sets of 3 objects-shapes, 1 set of 20 posters. Photo Credit: Kristof Vrancken / Manifesta9

Manifesta9

Manifesta9
Photo Credit: Kristof Vrancken / Manifesta9

Object Excercises - closed session with students of the CASS School of Art

Object Excercises - closed session with students of the CASS School of Art
a live object. an object that simultaneously changes form. an object that is at once flat, and then not. an object that breathes and thinks. an object which wonders why. an object which is its own audience and maker. an object that masquerades. an object that’s unruly. an object that can’t sit still. an object that’s full of bodies. an object that’s a monument, one which can be folded up and packed away. an object that’s covers up. an object that moves and shakes. an object that’s submissive. an object that’s empty. an object that leaves early. an object that stays all night. an object that carries on regardless. an object that doesn’t listen. an object that does.

2nd Letter

2nd Letter

Mixed media, Dimensions variable, 2011. For ‘Phantasmagoria’ at the O2 shopping Centre, London.

Mixed media, Dimensions variable, 2011. For ‘Phantasmagoria’ at the O2 shopping Centre, London.
Modern Action 3. An overhead projector shows an image on a temporary free-standing screen, on either side of which are two small groups of people. On the left is a group of 5 people who read in unison from a list of ‘actions’, and on the right is a group of people who are divided according to their activity - those who blow up and pop balloons, and those who ‘play’ wine glasses.

2011-2081

2011-2081
Kotor, Montenegro

in progress (studio work b)

in progress (studio work b)

in progress (studio work)

in progress (studio work)

‘The Inventory of Modern Action # 1’, Gallery Vela, 2011. Dimensions Variable.

‘The Inventory of Modern Action # 1’, Gallery Vela, 2011. Dimensions Variable.
5 x A4 b/w photocopy on red 90gm paper, performance with 5 participants.

‘Object Lessons # 1’, Gallery Vela, 2011

‘Object Lessons # 1’, Gallery Vela, 2011
Dimensions Variable. 12 x 30cm sq paper cubes (made from

'So, this object...' (detail)

'So, this object...' (detail)
Zagreb, 2011

Time, Space, Effort (Room 2)

Time, Space, Effort (Room 2)
Gallery Vela, 2011

Time, Space, Effort (Room 1)

Time, Space, Effort (Room 1)
Gallery Vela, 2011

'So, this object...'

'So, this object...'
Zagreb, 2011

What Would Objects Do Without Us, 2011

What Would Objects Do Without Us, 2011
with Tina Gverović

Work-Shop

Work-Shop
Supplement Gallery

Action To End (Conversations 2009/10)

Action To End (Conversations 2009/10)
Artist's book

Action To End (Conversations 2009/10)

Action To End (Conversations 2009/10)
Artist's Book

Time, Space, Effort - 2nd stage of exhibition

Time, Space, Effort - 2nd stage of exhibition
Herbert Read Gallery

Space, Time, Effort - detail

Space, Time, Effort - detail
Herbert Read Gallery

Space, Time, Effort - detail

Space, Time, Effort - detail
Herbert Read Gallery, 2011

Space, Time, Effort - detail

Space, Time, Effort - detail
Herbert Read Gallery

Put It To Us

Put It To Us

Sunday, 7 December 2014


Walk with placard- one week after the student protest march of November 10th. Foam board, wood.

Walk with placard- one week after the student protest march of November 10th. Foam board, wood.

Down, In, Out, Up

Down, In, Out, Up
2 sets of double sided cards

(as below)

(as below)