My artist research explores relationships between bodies and technologies, to produce objects, experiences and new encounters for audiences. Collaboration is at the heart of my practice.
Synthetic Dwelling (2018)
Synthetic Dwelling centres around a polyHIPE scaffold: a tiny 5mm cube of polyester bone marrow used within current practices of synthetic blood production. Within these cubes, millions of stem cells are routinely cultured in rich media. By disclosing both the corporeal and the synthetic in laboratory practices of biomedicine, these artworks represent the abstracted, medical body as a negotiated borderline between the experiential, biological, material and technological.
3D Print Exhibition: Dulwich Festival, Bow House, London (2019)
We The Curious, Interactive Science Museum Bristol (2018)
Spike Island OPEN (2018)
Scanning and re-materialising this scaffold at scale, reveals the white noise at the heart of our technological and corporeal medulla. My artist research explores this vital space, in which we negotiate our relation between human and the post human.
micro-CT scan of a polyHIPE scaffold (1’ 20”)
Micro computed tomography (CT) is a means of x-ray imaging in three dimensions. A similar device to medical CT scans, used in hospitals and clinical practice, but on a much smaller scale and with a much higher resolution. Here, a single scan images the complete internal structure of the 5mm cube.
Nylon sculpture, polyHIPE scaffold and framed print, Dulwich Festival (2019)
Nylon sculpture, polyHIPE scaffold and video of CT-scan (2018)
architectural model 1:50
studio tests, Synthetic Dwelling with live cultures (2019)
Zero Landscape (2016)
Zero Landscape explores the interplay of vast and microscopic, through a series of 2D and 3D print works that reflect on the mediation of global and interior landscapes.
The works presented here are all derived from the same digital source: a digital scan of the artist's blood made with an Atomic Force Microscope. At a scale below the threshold of human sight, her body's physical substance, her bio-matter recombines with machinic code and ripples out in waves of data visualisation.
Zero Landscape places sculptural objects in dialogue with large-scale prints that consider the body's spatial positioning by both medical and geo-locational technologies.
These objects are residual forms; translated, enlarged, fragmented, elongated. As material evidence, they are bio-matter entwined with nylon. Through processes of print, new landscapes are created: Zero Landscapes at the threshold of body and machine.
Zero Landscape. The Control Room, Bristol Harbourside. (2016) Night view
Contact / Surface. Exeter Phoenix (2015)
Bournemouth University Art Gallery (2016)
Original glass slide, blood (2011)
A series of works that engage with Atomic Force Microscopy [AFM], digital visualisation and scale, translating the artist's blood (bio-matter) into data.
Made whilst Artist in Residence at iDAT, Plymouth University.
Untitled_Force 4.17x10^-5 Laser engraved porcelain tiles Dimensions 120 x 120 cm
Exhibited at Spike Island Test Space, Bristol and Plymouth Arts Centre (2011)
On first glance, the terrain resembles a satellite transmission from deep space. The image flickers between representation and digital surface; media inseparable from subject, rendering it hard to decipher.
Pure Flow (2011)
PURE FLOW [mobile edition]
A miniature, hand held artwork for a mobile audience; PURE FLOW reinstates negative space in the cultural icon of the iPhone.
The app subverts the use-value of GPS as a surveying and navigational tool; revealing the invisible data streams and highlighting their increasing ubiquity, as sophisticated military technologies become key components in daily life.
PURE FLOW reveals the white noise generated between GPS data systems and multiple satellites, 3G networks and Wifi hotspots, as a tangible presence in the environment. Live signals, passing through cloud cover and urban architecture; absorbed by bodies, reflecting off concrete and refracting through glass.
Once activated, PURE FLOW reveals these signals as a sliver of fluctuating white noise, responding directly to the movement and immediate environment of the device and its user.
Developed with VIVID, Birmingham Centre for Media Arts (2005-2007)
Screenings, exhibitions and installations include:
Spike Island (2011)
.HBC Berlin (2010)
Salon Video Art Prize, MRA London (2010)
Live Art Falmouth (2009)
Exeter Phoenix (2009)
Spacex, Exeter (2008)
Concrete Cannot Stop Them, Liverpool (2007)
VIVID, Birmingham (2007)
Video loop. Silent.
Appropriated satellite images of Antarctica reveal large scale sea-ice displacements.
'Now we're seeing it as a living being, that's dynamic, that's producing change - change that it's broadcasting to the rest of the world, possibly in response to what the world is broadcasting down to Antarctica.' Douglas MacYeal, Glaciologist.
Exhibited at Spike Island Test Space, Bristol (2011)
The tryptich appears to be black and white images taken of the furthest galaxies. Instead they are waterfalls, captured in a millisecond; the blink of an eye. Beautifully ambiguous, the images are in colour, a dot of violet blue can be seen in the far left image - a dying star, a fleeting drop of water.
Sacha Waldron, Curator
Exhibited at Three Corners of a Triangle Squared, Spike Island Bristol (2012)
with Synthetic Dwelling, OPEN studios, Spike Island 2019
Aureole is an audio-visual installation exploring choreography, pregnancy and themes of mediation, taking the foetal Ultrasound scan as a point of reference.
In the gallery installation, monitor-based foetal scans correspond with large-scale, choreographed movements across the gallery space.
Aureole was made in collaboration with performer Andrea Barzey, choreographer Sophie Hamar and sound artist Helen Gough.
Installation exhibited at The New Art Gallery Walsall (2005)
VIVID Birmingham Centre for Media Arts (2007)
Screened as single-screen video at Dance Film Festival, Yokohama Japan (2008)
Commissioned by Capture: Dance and the Moving Image, Arts Council England