rule 110

Watercolour and pencil on paper, desk, chair, brushes, performance.
shown/performed at Inverleith House, Royal Botanic Gardens, Edinburgh, Scotland.
February 2009

This drawing and performance piece makes connections between the obsessive behaviour of scientists and artists. The drawing follows a simple mathematical algorithm used in theoretical botany, in which structures grow and interact, creating complex behaviour. The work alludes to the contribution each small unit makes to a larger field.

ward hill

Vertically tracking video projection with sound.
9 minutes.

shown at Sleeper Gallery, Edinburgh, Scotland. January 2009
shown at As We Speak, Glasgow, Scotland. March 2009
featured on Registered in Art, an artists’ video youtube channel. April/May 2010
shown as part of the curated exhibition Bloom at Bury Museum and Art Gallery, Manchester, England. May – July 2010.

Made with footage of the ground taken while climbing Ward Hill in the Orkney Islands, this video slowly tracks up the wall of the space in which it is shown. It forms a vertical section of the landscape, capturing the diversity of flora in response to altitude and the sensitivity of plant life to these conditions.

The accompanying sound is a recording of my heartbeat matched to my pulse rate while climbing, which reinforces the physicality of the work.

space modulator

Slide projectors, hand-made colour slides, electronics and mixed media.
1.8 x 2.6 x 1.4m approx.
shown at rm103 gallery, Auckland, New Zealand.
September 2006

Suggestive of a mass of particles, explosions, orbits and gravitational arcs, this work was a development from earlier three projector works, using direct colour slides as the source for its atmospheric effects. The title makes a light-hearted reference to Laszlo Moholy-Nagy’s Light-Space Modulator while creating a work more playful and whimsical than its antecedent.

audio reticulation

Computer cut vinyl, glass, sunlight, processed audio feedback.
1.8 x 2m
shown at High Street Project gallery, Christchurch, New Zealand.
May 2006

An audio processing network developed using the max/msp software formed the basis for this work. The vinyl-on-glass work makes visual the audio piece, offering an alternative way of reading systemic relationships. This notion of translation also occurs within the image as it is processed for vinyl cutting, a technology that works between the hand-made and machinic. Using light to activate the work firmly grounds it in the physical world.

test pattern

(three colour cycle)

Slide projectors, timers, electronics and mixed media.
2.5 x 3.2 x 1.9m approx.
shown at High Street Project gallery, Christchurch, New Zealand.
May 2006

This piece occupies a space between the still and moving image. Projections are reflected off rotating mirrored surfaces and diffused across a wall surface, transforming each image into a slowly orbiting field of its constituent parts.

This project references the organization of “bottom-up” systems; the original still image becomes the seed for the generation of a pattern-field. Timers create phase relationships and a visual feedback loop locates the original images as details in the larger context of the piece.


Lead, thread, printed card, sunlight and audio.
3 x 5.5 x 2m approx
shown at Phatspace ARI, Sydney, Australia.
July 2005

data_cloud makes tangible a bodily relationship to data’s cloudy characteristics: indeterminacy, vastness, plurality, obscurity, lightness and ephemerality. It also alludes to the formal systems that underpin the construction and collection of data. It examines the interplay between the system and its mobile content.

The work posits that the system of weather data collection is not one of abstraction (leading to an understanding of clouds and their operations) but one of substitution. The collection of data mirrors the sky above and replaces one dynamic ephemeral condition with another; data is also boundless and immaterial.

white out

Embossed paper construction, light, audio.
3.2 x 4.3 x 2.5m approx.
shown at Canary Gallery, Auckland, New Zealand.
September 2004

This installation sought to take the ephemeral atmospheric condition of a white out and to articulate its spatiality via the discipline of architecture. Its seemingly limitless condition becomes a failed geodesic construction, crystalline in appearance.

In a white out, the entire visual field is overwhelmed by whiteness via a process of light/information being diffused through each particle of water vapour. This denies a perspectival understanding of space and flattens depth-perception to an all-over field. Diffusion creates an over-presencing of information and a seeming blankness, yet one full of encoded meaning. The blankness of the white-out, threatening in the natural environment, in the gallery context becomes a space of potential where the magical and meditative can exist.

The overwhelming quantity of coded information and a concern for non-visual modes of navigation introduced the subtle manipulation of surface through repeated embossings of axonometric details taken from the site. A real-time sound piece took noises from in and around the gallery and manipulated them into an aural field of site specific textural “noise”.