On Some Faraway Beach (2002)

A wave of white light and noise crashes back and forth through the gallery illuminating a cosmos of paper lampshades. A solo show comprising this piece and Home video was exhibited at: Hastings Museum & Art Gallery (2002).


Overheard Overhead (1997)

A battered copy of British Birds, their Mating Calls and Songs, a selection of bare winter branches and a sound to light converter are the components of Overheard Overhead. Perched high on the wall is a speaker from which wafts a selection of well tempered ornithological melodies. The invisible chorus of Blackbirds, Sparrows, and Warblers is electronically transformed into a sequence of light movements that illuminate the branches hanging from the ceiling, projecting intricate branch lines onto every surface of the room. Exhibited at: The Vestry (1997).            



Hot Seat (1995)

24 orange plastic chairs form a teetering monument to modernist heroics and the reckless ambitions of schoolboys everywhere. The plastic chairs are stacked to form a precarious tower that arcs from floor to wall. The chairs are lit by small electric bulbs placed between the seats. The bulbs illuminate in a steady ascending sequence until interrupted by a series of explosive bangs that sends the light hurtling in an ejaculatory fashion up and down the tower. The spectator contemplates the paradox of the inherently masculine pursuit of the simultaneous pleasures of construction and destruction. Exhibited at: Walsall Art Gallery(1997), South London Gallery Open (1995), The Vestry (1995).  At the South London Gallery Open Hot Seat won the Artist Prize judged and donated by Antony Gormley and Anish Kapoor. 


Boating for Beginners (2002)

Commissioned for the boating lake in Battersea Park Boating for Beginners ran from June to August 2002. Anyone hiring a rowing boat was offered a walkman which provided an audio accompaniment to their rowing. The tape plays with notions of the audio guide, combining treated recordings made in an around the park with a voice over that mixes fact and fancy.


Phantom Power (1997)

Lumiere's train was perhaps the very first action movie, rumoured to have sent audiences diving beneath their seats to avoid the oncoming locomotive. Phantom Power pays playful homage to the ghost of the projected train.Two large dog kennels are placed opposite each other, some 30 feet apart. From the inside the left hand kennel comes a low bayfull howl, followed by the sound of the slow thump of steel and steam. The interior of the kennel begins to glow; on and off in time with the engine's motion. Sound and light increase in volume, building to a crescendo before the sound pans across the room and disappears into the opposite kennel opening. The light then recedes, leaving only the pitter-patter of the phantom train. Exhibited at: The Asylum Road Gallery (1999) and then in a larger form at Walsall Art Gallery (1997).


Home Video (1998)

A perhaps more conventional approach here with a static camera video of a seemingly ordinary terrace house on a seemingly quiet London street. From within the property however comes the sound of breaking crockery,sudden bangs and unexplained thumps. Sounds that suggest the activities of some unnatural presence or psychic phenomena. Exhibited at: Hastings Museum & Art Gallery (2002), Camerawork (1998).


Somewhere over England (1996)

The title suggests a classic film by Powell and Pressburger; all that remains of this however is a single frame, enlarged in three dimensions and drawn out into the gallery. The elements in the frame remain frozen; the bicycle suspended in take off, its rear wheel slowly revolving. In the background the looped sound of passing traffic. The spectator wanders in and out of the arrested scene, caught somewhere between two and three dimensions, between stillness and motion. Exhibited at: Conductors Hallway (1996).  Reviewed in Art Monthly.


The Improbability Calculator (1994)

Cover a small table with a white cloth. Arrange 10 white tea cups in two rows, face down on the table, rather in the manner of a tea stall. Under each cup place a small bulb to illuminate the glass. Attach the bulbs to timers and set the intervals such that each cups flashes on and off at a slightly different rate. With a little experimentation the light should move freely from one cup to another. The resulting series of complex and changing patterns can either be used directly for analysis or for signalling your intentions. Exhibited at: Turtle Arts Nottingham (2000), The Vestry (1994).                        


If We Can Sparkle He May Land Tonight (1996)

A space and time machine constructed from an old David Bowie LP. The back cover of Ziggy Stardust shows Bowie striking a camp pose inside a red telephone box. This image is enlarged to 4ft square and lit by back projection. The picture takes on a three dimensional quality, heightened by the rising and falling of the light inside the picture, creating the impression that Bowie is "beaming" in and out of the scene. In front of the image a telephone receiver dangles from the ceiling. The mouthpiece begins to glow just as the light in the image begins to fade. From the ear piece the distant sound of a ringing phone can be heard. Standing in front of the picture holding the receiver the spectator becomes part of a cycle; transported backwards and forwards, in and out of the picture. Exhibited at: The Tannery (1996). Reviewed in Art Monthly.                                    


No Ping Pong (1994)

A table tennis game dissected and automated. Exhibited at the Whitechapel Open (1994) and at the Metro Cinema, London (1994). Reviewed as part of the Whitechapel Open in a number of publications.