Die Glamour Berg’s will descend on Airspace Gallery’s window from the 30th of March until the 13th of April with a final performance ‘All that Glitters is a Mares nest’ on the 13th.
At the start of 2019 there were 13,865 active nuclear warheads known to be in existence.
Nuclear Tides examines our delicately fractured relationship with Nuclear technology and why we cannot afford to assign it to the history books. Viewing the subject from a genderqueer perspective to allow for a more relevant reading for 2019.
Little Boi is all grown up and has nowhere to go. As Nuclear Armageddon approaches join me on a sensory exploration into the nature of fear and hope.
Nuclear tides is a response to my current research on the area of nuclear tech, it has been informed by a summer camp with Eastside Projects and a residency with Asylum gallery.
Come in out of the harsh cold of a Nuclear Winter to help me celebrate the end of the world.
# Hexagon Theatre
# The Midlands Arts Centre
# November 22nd, 2019
# Doors open 7:15pm
# 7:30 start
For more information please visit
I’m currently researching outdated Nuclear technology for an upcoming exhibition in september, more details to follow soon but for now here’s a teaser.
Currently being developed / Images taken at Vivid Projects
Promo Video for a performance at Vivid Projects as part of this years Black Hole Club launch. 30 / 03 / 18 6 – 8 pm.
As the Arctic Tundra melts it unfreezes the Arctic Sirens and their looking for a new home among the frozen wastes of Art galleries. WARNING!!! do not fee or copulate with the Arctic Sirens.
Venice O my!
Egg gods/ David Oooooo yerh/ Hunters/ Water sports/ Finland! / Spite/ Nose masturbation/ Bum caravans/
Archives / Thread / Animatronic Penguins…. STOP My head hurts!
This September New Art West Midlands very kindly let me come to the Venice Biennale with them. It was my first time out of the country in ten years and what a way to start. Monarch kindly deferred financial collapse by a week to get us out and back.
It was wonderful to be with such brilliantly friendly people full of ideas and mixed interpretations of the work. It was refreshing to see how others approached viewing work.
The most influential lesson I ever got was when my elderly teacher took away my rubber. She said I had to learn from my mistakes. This has guided my approach to how I make and view art.
You only ever get one first impression of a piece, make the most of it. I never take information about art until after I’ve experienced it in the raw. Great work doesn’t rely on writing to be readable.
On to the damn ART already.
Where to start? SCOTLAND!
Possibly because of its isolation from the main bulk of work but I suspect because of the commitment both of scale and effort involved in it the Scottish Pavilion stands out as one of the most interesting pieces. A 20-foot vertical screen dominates a blacked-out church. Mirroring the themes in the piece the beauty and scale of the setting only becomes apparent once your eyes have adjusted. It’s a gloriously textured piece looping back in on itself elegantly melding Facebook symbols, myths and modern morality
Battle of the titans.
Arsenale VS Giardini
These two monstrous beasts are of very different flavours.
Welcome to Giardini land, how may I help you today?
Initially has the feel of being a Disney land for people who like to say they’re in the arts but beneath the theme park layout and selfie advertising there’s a wonderland of work replete with jabberwockies and trolls.
Russia was disturbing and disappointing played as a send up of the country’s military heritage, but neither vicious or damming enough to be real it felt much more like a display of Soviet might and total control.
Canada however was brave, daring and playful and by far and away my favourite piece (I returned 3 times). I was lucky enough to come upon it from the back entrance via England as you walk through the door to a shattered and gutted pavilion open to the skies. Strewn with playful wreckage using water to react to the presence of visitors, culminating in a ravaged fountain at its heart.
How Bloody Big is the Arsenale?
This was no tourist playpen but a fully formed gauntlet of art gladiators stretching on into a parallel dimension where a giant kitten was terrorising art critics to get to the biggest balls of twine in the multiverse – Just me there? Sorry.
A complete clusterfuck cacophony of cultural Kunst. Ok so I had a beast of a cold starting as I went through the belly of this beast so I kinda experienced it in a somewhat dreamlike state. While there were pieces which succeeded and others that failed for me it was the experience which stuck with me, a million myriad ideas jostling for dominance of my attention constantly trying out do one another.
D . A. V. I. D. was probably the piece we most bonded over as a group, a prince charming nestled half behind warehoused vulvas.
Spain must take the prize for most fully realised idea – a dystopian nightmare laboratory – and China for worst pavilion, reading like a garbled mess presented by half-arsed 2nd year student. At least the Venetian pavilion had the grace to honestly be an advert for the Tourist board.
Beyond The Thunderdom… Erm Venicdome?
A thousand thoughts fled through my mind as I raced up to Manchester for a performance the next day. Egg gods of Finland, upended trucks next to caravans with bumholes.
Curators struggling with Performance. There’s still no resolved answer for me but it’s finally permeating into the landscape of these beasts.
The bizarre way many of the pavilions used English as the primary language frankly shocked me. A hangover from colonialism one of the running themes in the Arsenale. Research being presented as work sometimes so lazily that it made me question why it was in an art setting at all other times beautifully handled and worked over. This was the year of the Archivist at the Giardini.
Mainly it was the more delicate and subtitle works that stuck with me. Israel’s mouldy empty room hiding a great nebulous cloud, the music box desperately screeching away in a corner, the assistant endlessly nattering away while repairing clothing.
But mostly it was the Bravery of Canada. Childishly totalling their pavilion to make a joyous piece of work.
Thank you, New Art West Midlands and the people, on the trip it was Fantastic!
A gruelingly personal performance over 3 hours. Both physically and emotionally it took a great deal from me, pushing my body further then any previous piece. I was amazed at just how many people stayed and watched as I evolved through the different stages and how detached from the audience I felt. this was in part due to the physical demands of the piece. Remaining still in freezing lube and milk for fifteen minuets in October while naked isn’t the easiest start. Then being deafened with water logged ears, blinded by a crop to the eye and heftily pelted with 45 lemons it makes for a tough experience. But also due to the lack of communication and slight unease at the sight of raw eggs being spat and other parts of the performance it creates a distance.
For more specific details please visit the portfolio page.
People aren’t naturally rational but rather superstitious and emotional, investing faith in anything handy. The recent resurgence of the superhero as a personal talisman is one form this modern faith has. Another is the rise of Donald Trump he tells the world ‘alternative facts’ and people believe in him in-spite of the evidence, why? Faith.
The basic premise is that the Yeti sighted in the Himalayas are real however they believe Brian Blessed to be a mythical creature and who brings avalanches. Some Yeti remember him as a story from their childhood whereas others worship him as a god but none have any tangible evidence of ‘The Blessed’.
This project explores Faith, trust, myths and hero’s and the effect time has on these. When I was younger I almost became a monk, and am interested in what mythical support structures (religion etc.) the Yeti would build up around ‘The Blessed’. Exploring other people’s view of faith (as the belief in the unproveable) and why people still have a need to believe in modern myths.
Shrine was the second iteration of this idea. The first being Blessed be the YETI and both leading to a final version being presented at Stryx in October as part of Fierce’s takeover.
As part of Black Hole Club’s event Transmission I performed as the Queen of the BBC’s iconic Radiophonic Workshop Delia Derbyshire. The spirit of Delia uses outdated tech to mourn the death of analogue. Playing upon her excessive love of wine she drank away the night while inviting the audience to join her in smashing cd’s. ‘The vile digital replacement’.
Thanks to David Checkley for his invaluable help resurrecting the Theremin.
Transmission was Curated by Antonio Roberts and featured work by Jeff Kolar, Coral Manton, Daniel Hopkins, David Checkley, John Bradburn, Michael Lightborne, Patrick Goodall, Pete Ashton, Rebecca Mahay, Sian Macfarlane, and Vicky Roden.
see www.vividprojects.org.uk/ for more information.