'Architectural Apparatus No.2 [Fiscal Structure]' 2008

Corrugated and Flat Steel and Timber 4 mtrs x 3.6 mtrs x 3 mtrs

The Greco-Roman façade has, since the days of the Renaissance, been appropriated by bodies such as governments, financial institutions and individuals to signify the solidity, trust and established values of that body which they represent.

Have we been misled by this? Has it come to confirm the other meaning of the word ‘façade’ where the intention is to deceive and it’s veracity is a sham; it’s continued existence shored up from behind.

The text “Integrity Protecting the Work of Man” is the title of the sculpture by John Quincy Adams Ward bounded by the ‘Palladian’ pediment on the front of the New York Stock Exchange.







'Staring from the Sedentary Position' 2009

Looped video projection within a CCTV housing.

This piece was made for an exhibition "We Live in Public'. It reverses the position of the watcher and the watched.







'Architectural Apparatus No.1 [Divisor]' 2008

Corrugated Steel and Timber. 15 mtrs x 2 mtrs x 4 mtrs.

The architecture of division and oppression bisect this space. There is no path through the steel wall except by passage made outside the space, yet by placing this boundary out of context and within a gallery, it reverses the expected and established rolls thus allowing our dominance of this 'apparatus'.

North Side



South Side



To give an impression of height





'Fabrik Nr.1'. 2008

Zinc Plated Steel. 2.3mtrs x 2.5mtrs x 3 mtrs

‘Fabrik Nr.1’ takes it’s form from architecture and industrial plant. It is in the form of the ubiquitous ‘shed’ although its appendages indicate some undefined process going on within. It draws attention to industrial plant we depend upon but generally overlook and ignore, maybe revile. This work tries to redress the balance.




Maquette for Fabriken -Full size work not yet realised.

Zinc Plated Steel. 1mtr x 1mtr x 0.5mtr.

Model referencing the industrial photography of Bernd and Hilla Becher.





'Fabrik Nr.5' 2009

Galvanised Steel 3.6 mtrs x 1.6 mtrs x 0.8 mtrs

This was a piece made to appear to be part of the fabric of the building, a strut or ventilation duct however there is an ambiguity about the work as it has no practical purpose although at first sight most people thought it had.





Machine No.5 [Infrasound Collector]. 2007

Galvanised steel and chain
5000cm x 1500cm x 1200cm

The concept underlying the work is that infrasound (ie. sound with a frequency below 20Hz and below human hearing) is collected in the plenum chamber at the top of the work and amplified in the tube below and emitted at the base. This tube is tuned to give maximum amplification at around 17.5 Hz however if it does or not we cannot know as we will not hear this. In this case, as a visual artist this is irrelevant to me, yet the concept from which it derived is important.





Machine No.11 [Infrasonic Fan]. 2007

Galvanised steel, wire and electric fan
2000cm x 4300cm x 2000cm

This work uses a fan to generate low-frequency infrasound (13.3 Hz) which is naturally amplified in the tube. It is barely discernible yet the viewer may experience slight pulsing either side of the mouth of the tube, although strangely enough not directly in front of the tube.





'Pataphysical Emulator No.3'. 2008

Zinc Plated Steel, GRP and Aluminium. 3mtrs x 2mtrs x 4 mtrs.

Evolving from studio work, this work sought to look at form following function. Placed above the River Thames, the 'ears' collect very low frequency, inaudible sound known as infrasound, amplifying it within tuned pipes to issue from the top. We can't hear it though..... it's infrasound.







Machine No.9 [Unbearable Lightness]. 2007

Petrol generator, 150watt bulb and cable
Various dimensions

The generator is self-serving in that it only runs the light shining over it, an allegory for western society. It has a finite amount of petrol in it and will cut out at any time and thus the light will go out. In this installation, the generator is below an apple tree. On one level this piece makes a clear eco-political comment, yet the serpentine cable and the filament-cored light globe also work on a Biblical level where we are ejected from Eden and on a Newtonian level where mans use of science can be our downfall as well as work for the common good.







Three works about the sea. 2006

Wood
Various dimensions

These are from left to right: 'Raft of Medusa with Plastic Chair', 'Liferaft' and 'British Sea Power'. They all relate to the demise of the British Merchant Fleet and are made of common shipping pallets. These works were based on the experience of a friend, who witnessed the tragedy of a ship foundering. The only thing left floating were pallets as it rolled over and sank with all hands. The plastic chair alludes to a human presence.