Readymade drawing from the head branch of the Royal Bank of Scotland.
250 x 200mm.
Edition of 10.
In Scotland each bank is responsible for printing its own money, a major point of difference with most other countries, and one that reflects the history of banking in Scotland. The Bank of Scotland was the first bank in Europe to successfully introduce paper currency, and a Scottish economist, John Law, helped establish banknotes as formal currency in France.
Made as I was preparing to leave Scotland, the title of this work is also a play on Adam Smith’s “The Wealth of Nations”, considered to be the founding text of modern capitalism and free-market economics.
This rarely seen one pound note produced by the Royal Bank of Scotland is taken out of circulation as a way of thinking about issues of value, nationhood, identity and representation. This seems particularly relevant in a period of financial instability as well as the political context of an upcoming referendum on Scottish independence.
Half tone image on tracing paper.
4.6m x 3.1m
Exhibited at Patriothall Gallery, Edinburgh, Scotland.
Representing a cloud, itself an accumulation of particles, through the process of half-tone imaging creates an edgeless field where matter is rendered through density, rather than line. Installed across the gallery windows, the work diffuses the light entering the space, producing a soft and subtly changing atmospheric effect.
Series of seven digital prints.
420 x 297mm
shown at rm103 gallery, Auckland, New Zealand.
These works map the movement of weather systems across New Zealand over a one-week period. Reducing the map to sites of data collection and their readings disrupts the boundaries between geographical and meteorological readings. The landform appears cloud-like, while the atmospheric data begins to conform to a recognizable landmass.
Each image is grounded upon the International Meteorological Organization index for the numerical descriptions of weather conditions. Containing phrases such as “36: Slight or moderate drifting snow (below eye level)”, it shows the imprecision and subjectivity of this rationalist project carried to an absurd extreme.
Computer cut vinyl, glass, sunlight, processed audio feedback.
1.8 x 2m
shown at High Street Project gallery, Christchurch, New Zealand.
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.
Embossed paper construction, light, audio.
3.2 x 4.3 x 2.5m approx.
shown at Canary Gallery, Auckland, New Zealand.
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”.