My practice is an transmedia enquiry of the body and the skin, and involves probing the interfaces with which that body connects with the world. The method revolves around instinctive exploration and scientific experimentation.
The projects are driven by interaction with others, jointly questioning aspects of our multiple selves, and are highly collaborative, progressing through stages, built on our shared sense of otherness. I use the term Theatre of Selfs as my practice is a dialogue with my collaborators, their aspects are used to explore or confront aspects of myself.
Since finishing my MA in September 2015, the film Infinite Surface was selected for 3 festivals in Australia in early 2016. Stemming from the collaboration with Prof. Richard Sawdon Smith, the film challenges the stigma of living with HIV. In February, Mappa Corpo, which opens the body like an atlas, was shown in Madrid during ARCO. Later Catherine Pearce at the Guildhall Art Gallery choose two works which confronted colonialism into the collection of the City of London Corporation.
Mappa Mundi Inscribed about the subject’s view of the world from his perspective of disability, devote catholicism and sexuality, was selected by Rosalind Davis for Exceptional 2017. During June/July 2017, working with curator Michael Petry, I was lead organiser of Now, where are we? 1967-2017, a critical response to Queer British Art at Tate Britain. I exhibited ID: the Anagnorisis of Sgt. Creeland plus the virtual reality installation InSideShow which challenged the visitor to walk around inside an HIV+ body to find the virus.
I was then invited to transfer the exhibition to Dartington Hall in September. In parallel, Infinite Surface was selected for Sadie Lee’s show In Your Face.
In October 2017, I was invited by Gabriel Gbadamosi and Jonathan Meth to show 7 new/existing works at All Our Tomorrows, part of King’s College Arts Festival.
Following a studio visit by curator Rosalind Davis, the Fugita work was selected for Exceptional 2018. This attempts to convey what it is to be in a mature yet earning body, and was made in collaboration with photographer Robert Taylor.
Drawing has been a core part of my practice since the MA, and afterwards in December 2015, I founded the Human Intensive Enquiry Unit (Human IEU) collective which meets weekly in my studio. Human IEU held its first exhibition of drawings derived from life called That Shadow of a Shadow in June 2018. I exhibited some of the Klein Body and Rooster drawings.
Another core method in my practice is the use of digital image capture and manipulation – still images, time-based and also photogrammetry assemblages of hundreds of images. At two exhibitions in November 2018, I showed the film Totem – a close scrutiny of total body tattoos – and the photographs of Kage.
The latter part of 2018 enabled me to focus on developing my skills in oil painting, resulting in the Jar of Liver series. These three oil paintings of liver pick up on the old hetero-male derogatory term for sex with women (like fucking a jar of liver): it makes a comment on how people of all genders and across a range of sexualities treat each other these days using sex-dating apps. Hannah Gadsby’s recent comment about Picasso’s attitude to women expressed by his painting “flesh vases for dick flowers” seems quite appropriate, and indeed I appropriated this phrase for the title of one of the paintings.
The first exhibition of 2019, FLUID, will see the paintings from the Solution series, which consider the immersed body and ponder the outcomes provided by the fluid. These are inspired in part by Rembrandt’s Slaughtered Ox, and Andres Serrano’s Immersion photos of which the Piss Christ is the most famous. In addition I’m showing the time based digital work called Liquid Lens which picks up on material generated during a collaboration with Robert Taylor to imagine sensations aroused during a blind massage.
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2013-15, MA in Fine Art, City and Guilds School of Art, London.
2012-13, Foundation Diploma in Art and Design, City Lit College, London.
Previously, BSc Engineering, University of Bath.
7th to 12th May 2019, Fluid, Espacio Gallery, London.
6th July to 20th July, Fugita, Chapel at Brompton Cemetery, London.
5th to 9th November 2019, What’s the point?, Menier Gallery, London.
2018, Looking the Other Way, Espacio Gallery, London.
2018, BrOther, Menier Gallery, London.
2018, Exceptional, Collyer Bristow Gallery, London.
2018, That shadow of a shadow, Old Brompton Gallery, London.
2017, All our tomorrows… conference, Anatomy Theatre King’s College, London.
2017, Dartington Outing, Dartington Hall, Devon.
2017, In Your Face, Salisbury Arts Centre, Salisbury.
2017, Summer Salon, Lubomirov Angus Hughes, London.
2017, GPN17, Hackney Wick, London.
2017, Now, where are we? 1967-2017, Strand Gallery, London.
2017, Federation Square public viewing, Melbourne.
2017, Exceptional, Collyer Bristow Gallery, London.
2017, Midsummer Horizon Testing Grounds, Melbourne.
2017, Visiting Lecturer, Norwich University of the Arts.
2017, Melt Festival, Brisbane.
2017, Heaps Mardi Gras, Sydney.
2016, Uncertain States, Mile End Arts Pavilion, London.
2016, Indelible, Camden Image Gallery, London.
2016, Money and Power, Guildhall Art Gallery, London.
2016, DeArte, Palacio Neptuno, Madrid.
2015, Re:Defining Beauty, Leyden Gallery, London.
2015, 1 plus 3 skins, C&G Art School, London.
2015, 16/15, Muse Gallery, London.
All our tomorrows…, Anatomy Theatre King’s College, London, October 2017.
Now, where are we? 1967-2017, Strand Gallery, London, June-July 2017
The Lord Mayor of City of Westminster Ian Adams holding an original copy of the Wolfenden Report, with the team that delivered “Now, where are we? 1967-2017”.
Jonathan Armour, Guy Burch, Kevin Childs, Jonathan Cooper, Brian Dennis, Richard Dickson, Santiago Echeverry, Franc-off GodeVi, Sunil Gupta, Charan Singh, Angel Ito, Brad Kenny, Michael Petry, Richard Sawdon Smith, Milan Svanderlik.
“Exceptional”, Collyer Bristow Gallery, London, February 2017
“DeArte”, Madrid, February 2016