Untitled

Exhibited at dialogue of failed languages, March 2020, Salt Space, Glasgow. A metal hoop that was found in a skip rotates slowly. As it rotates it catches onto a metal rod, creating a light, almost inaudible sound. Inside the plinth is an amplifier playing a pre-recorded audio track of the hoop being struck in a controlled environment. This sound is amplified, creating a much more resonant sound, akin to the Buddhist singing bowel. This creates the illusion that the light touch of the rod on the hoop is creating the deep resonant sound coming from the amplifier.

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Hoop piece

Exhibited at the Old Hairdresser's

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Screenshot (1242)

Installation shot of the simulated degree show that was created by a group of students. (dsSimulator2020). This show was organised by Ben Hall and I helped with modelling other people's artworks and I composed the the music for the starting menu.

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Blue

Painted

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Egg

Footage of the installation being used (participant is behind the camera)

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Egg

Exhibited at the Glue Factory, 2019. Painted animation rendered into a virtual reality environment. The participant's can navigate around the scene using a motion controller hidden inside a painted egg.

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Piece being used

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Life-Line

two channel, computer generated animation and digital video.

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Uncomfortable flesh

Computer-generated animation.

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I am interested in creating situations that generate a rupture in our everyday perception of reality. This is phenomenological at its core and it involves sound, animation, sculpture and painting.

My work processes the tension between inanimate and animate, changing and static, physical and immaterial.

I have found that many of these tensions are expressed in the dialectic between the analogue and the digital.

In a recent body of work, I have used gestural painting in combination with coding, virtual reality and animation. I want to push the idea of a painting away from normal modes of viewing, whilst retaining its essential qualities. At the same time, these works seek to interrogate ontologies embedded in the digital. I use digital processes in a way that foregrounds the body, mess and indeterminacy.

A recent work – ‘Dust’ – has been an open ended project that I worked on during lockdown. It was improvised, except for the basic premise of objects falling and crashing into the ground. It was motivated by an idea of history as rubble and the absurdity of invoking nationalist sentiment at times of crisis – particularly the ‘war-time’ spirit – in recent months.

This is heavily informed by my background as a jazz musician and improvisor. I have been involved with organising and participating in the Sononama sessions, led by friend and collaborator Lars Schmidt. These are monthly sessions of improvised sound and performance at the CCA Glasgow.