Friday, 24 June 2011

Artist's Debt at the London School of Economics and Political Sciences

For 'Not Quite a Baker's Dozen' at the London School of Economics and Political Sciences I was invited to submit a proposal that related to the art market and notions of value. Inspired, in part, by Pierre Manzoni's seminal work, Artist's Shit (1961) I chose to exhibit the debt to the state I created while studying art as an 'immaterial' art work. Although three of my proposals were selected for the exhibition by HRL Contemporary two of the works were subsequently declined on the advice of legal experts at the LSE.

Please note that the printed statement that was hung on the gallery wall is not ‘Art’, it is just a legal document that confirms the debt’s existence, authorship and volume.

Artist's Debt

1999 - 2012, Dimensions variable

Full text about Artist's Debt

Thursday, 9 June 2011

Fierce Festival start party

A chocolate cake produced by 'Quarantine Theatre' for FIERCE 2011 featuring a quote by composer John Cage.

I will be participating In Fierce Festival, Birmingham in Spring 2012

Tuesday, 24 May 2011

The Catlin Art Prize 2011

The Catlin Art Prize 2011

May 19th - 22nd 2011
The Tramshed, Rivington Street, Shorditch
‘The student equivalent of the Turner Prize’
The Independent online Wednesday, 12 January 2011

Thursday, 19 May 2011

The Catlin Art Prize 2011

Filming Waiting to Fall at the Catlin Art Prize 2011

Photograph  © Sarah Kate Fowler

Waiting to Fall

(infinite) video of site-specific performance

The Catlin Art Prize 2011, The Tramshed, Shoreditch

May, 2011

'Waiting to Fall' is a site-specific video of myself hanging from one of the Tramshed's vast infra-structure of metal Ibeams. The Tramshed was dissected into a number of cubicles for the exhibition. My space was empty (apart from the screen that showed the performance).

When an audience member approached the screen they were directly beneath the space where I had been hanging. I was holding on by the tips of my fingers like Bas Jan Ader, hanging from the fragile branch of a tall tree in his seminal video 'Fall (Organic)', 1971.

Although my actions may have looked dangerous at first glance, on closer inspection the video revealed itself to be a heavily manipulated document. A short clip had been looped so as to extend the expectation of the fall forever and was framed so as to conceal all health and safety precautions. Because of the low resolution of the digital video it was hard to know if the event had actually taken place at all or if the image was a collage contrived in post production.