Vibrant Shed (Balloons in the Dark), 2018, DOK Artists Space, Edinburgh
Helium balloons move about in a darkened room revealing the vibrant and constant change that interconnects us and our world.
Mark Wahlberg (2018), paper and media, 20x30x15cm
Increasing interest in work made from detritus, spares, off-cuts etc. When everything in the world is vibrating with energy you don't need much for a sculpture.
For Cy (2018), paper and paint, 40x20x30 cm
Sentimental vibes for an artist whose sculptures touch me. When all you need is yellow paint and cardboard, that is all you need.
Microtones (2016), an installation of sculptures, prints, drawings, and sound at Richard Rhodes Dupont Projects, Toronto
Sticks painted with spots, stripes, and gradations of colour clown around in corners, framed prints that nearly disappear, photos of almost nothing, bright pastels of frogs and flowers.
This exhibition involved numerous painted sticks, screen prints and pastel paintings, a photograph behind glass, and a sound piece "Willows and Palms" (available for listening).
The House (2010), an installation of texts on windows and installed black and white photos (texts adapted from Deleuze and Guattari's What Is Philosophy?)
How to respond to the many texts of a historic house museum? Layer over with more texts. By 2010 Deleuze and Guattari were already so fashionable they weren't fashionable anymore, so I decided to use them anyway. It made the house feel alive. The photos come from 1970s archival footage of the site as well as an overexposed photo of my fathers from around the same time. Their glass reflects the space.
Bees, an installation of images, original texts, and sound at Museo Napoleonico, Rome, 2015. Curated by Luca Arnaudo.
Again, how to respond to the many texts of a historic house museum. Layer over with more texts. These poetic phrases are made up but inspired from biblical and classical verse that describes a rich and fertile explosion of a world. Screen prints and a sound installation of bees buzzing further complicated matters. I think this is a quiet but lively critique of empire in the form of some kind of ecstatic vanitas approach. Something like 20,000 people saw this exhibition.
Space Blanket with sound
An obvious material for a sculpture, so why not make one of it? The membrane breathes with the room. The sound recording is played back in the gallery -- it is of people running on a track in the gymnasium above the gallery, which you can also hear happening live -- a weird doubling.
Detail of a survival blanket responding to the air currents of the museum with a sound recording of runners in the fitness centre upstairs.
Sticks, various painted sticks
These many site specific sculptures are like bits of extra decor that are hard to look at. Their edges move.
Sticks painted to respond to their surroundings. Items of decor, mementos, bits of dross with visual reverb.
Porthole, dog texts, and horizon, Oakville Galleries, 2011
A hole cut in a wall recalls the porthole of a boat. This is near a local river. The humidity and the local environs are revealed. Texts about dogs without masters float on walls and windows. They give images of distance and perhaps a deadpan sort of slapstick. A line of glossy medium on a wall reflects the light from the opposite window. These works are like nothings.
Stripes for Daylight, 2009, gloss medium on wall, Art Museum of University of Toronto. The challenge was to make a large-scale work with only a few tablespoons of paint. Just enough light reflected to draw people's attention. They almost looked like dancers around the perimeter of the room.
Eel, 2008, paint on edges
Pool, 2009, fan and reflective foil, 1m