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The Black Friar (2013)

In 1275 the Dominican Friars of London moved their priory from Holborn, to a location between the Thames and Ludgate Hill. In 1538, it was closed during Henry VIII's dissolution of the monasteries. Much later, in 1875, the Black Friar public house was built there, upon the original site of the 13th century Dominican Friary. The Black Friar proposes a relationship between the speculative language employed by the redevelopment of these areas, and the form of the hypnosis script. Here, a pre-emptive voice suggests a movement between archaeological pasts and futures, located beneath the site of a stopped clock.



The Black Friar (2013) 5 min 24 sec, 35mm still film transferred to digital, black and white, stereo. It has been presented as part of 'An Endless Volume' screening programme curated by Adam Pugh as part of 'Invisible Fabrick' in May 2014. The screening included works by Clare Gasson, Georgie Grace, Ruth Maclennan, Margaret Salmon, and Corin Sworn, and was shown at Lazar House, an ancient, rarely accessible building founded as Norwich leper hospital outside the city walls. It was first shown as part of the group exhibition 'Every Bird Brings a Different Melody to the Garden', curated by Amy Botfield and Robert Dowling at No Format, London, June - July 2013.

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THE MIRACLE METHODS SERIES: Distance Readers (2012)

THE MIRACLE METHODS SERIES is a host for episodes that consider the nature of the game and the forecast.

The latest incarnation Distance Readers comprised four silent moving-images. At the centre of each 'Reader is a game where four winds – East, South, West, and North - are indicated as players and oracles. They are protagonists within a speculative fiction, in which their playing pre-empts spaces beyond, predicting the future in a series of present events. A 'distance reader' is also a term used within the context of card-sharping and the act of marking cards to cheat, where it is the defocusing of the eyes to spot fluid residue on an opponent’s distant cards. The 'readers' here are regular players in a Mah Jong group in Weymouth. The work was first broadcast as an intervention between adverts and travel-updates on council information screens, and embedded into Olympic programmes on BBC screens, installed on the beach in Weymouth. It developed from a performance for Lucky PDF TV at Frieze Projects in 2011, A Luminous Reader.


THE MIRACLE METHODS SERIES: Distance Readers (2012), 1 - 2min per episode, HD, colour, silent. Images 1 - 4: documentation, Portland and Weymouth 2012.

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A+X+M (2010)

And now you are here again. No, this isn't the right ending. I'd like you to begin. It's the one who starts who wins.

A + X + M was filmed and subsequently installed in the print-workshop at Wimbledon College of Art. An unseen narrator, also the print-technician, recalls standing on the rooftop of a building, witness to the coming of an event of epic proportion. In another scene, a conversation next to a photo-exposure unit is remembered. In yet another, a game or many games, are played. There are always three winners. The script of the film was produced in parallel to a chemical process developing photo-etch plates - details of video stills taken from Alain Resnais and Alain Robbe-Grillet's film collaboration Last Year at Marienbad (1961). Light entering through interior and exterior windows in the workshop was filtered through UV-stop amber gels, and the film was projected on a loop in a room behind the etch-baths.


A + X + M (2010) 9 min 45 sec, DV, colour, stereo. Images: 1 - 7, film stills; 8 - 11, installation details, Wimbledon College of Art, 2010.


My voice belongs to you (2010)

My voice belongs to you draws on a series of reconfigured hypnosis scripts to propose a silent, persistent voice. There is a suggestion of the experience of speech in trance. The work borrows from auto-hypnosis models, in which a text may be recorded and rehearsed at home.


My voice belongs to you (2010), 4 min 28 sec, DV, black and white, silent.