This video work documents the relationship between myself and a South African YouTuber who I’d anonymously posted paintings to. I was interested in the idea of making paintings as a props, and the relationships you have with people on the other side of a screen who you might not even know, and who certainly don’t know you. I see the footage as found object work brought about by situations I engineered. The video is edited from his uploads to his personal YouTube channel.
Don’t Tell Me This Doesn’t Look Like A Sign
2025
Glass, Oil paint, Steel, LED lights, Cables, Spray Paint
Some Change Of Ten Pounds
2025
Cast bronze (from 1 & 2 pence pieces, coins sterling), Patina
15 x 30 x 15 CM
This bronze sculpture of a parakeet was cast from melted 1 and 2 pence coins. Then oxidised green with patina, mimicking bird that the
coins have been reshaped to resemble.
Eyes, Cig
2024, 2025 Eyes: Video loop (02:60), 2 x Glass lenses, 2 x Digital watches screens, Raspberry Pi
Cig: Diffuser, Pipe, Polyester resin, Pigment
Eyes was made from two encoded round screens taken from smart-watches. It plays a looping video and has two comical lens’ that makes it seem less Big Brother and more cartoon-like and friendly. This work doesn’t see you, but whenever I show it people always seem to think it’s looking them. Maybe we, as human beings, above all else just want to be perceived.
With Cig, I think I was interested in the idea of comical reduction, as a
relatable form of minimalism. That if you could reduce a figure down to a
single straight line, and still see another person in it, how you could
also see a figure in a perpetually smoking cigarette at lip height. A
cartoon like representation of life, protruding from the wall.
Both blind works have two states, heads or tails, A or B. We reduce life down to happy and sad, good and bad, 1 and 0. A lot of jokes are like this. They are A then B. The Irish playwright Samuel Beckett was great at this. “I Can’t Go On Like This. That’s What You Think!” comes from the 1952 play Waiting For Godot. In Beckett’s play, the two main charicters are somehow trapped in limbo, waiting for something, or someone to come along with a new story and conception of reality that can make sense of the strange, unequal, chaotic and disconcerting present, but hey, at least they have each other – and so do we!
The other blind work includes a photograph I took in Athens, in the Nordic Library where I was part of an exhibition last year. The library is in the centre of the city, just down the hill from the Acropolis. To make the researchers working in the dark library feel a little better about being inside in such a wonderful city, they’d wallpaper pasted a fake window that you could look upon from the desk.
Romanced
2026
UV print on aluminium, Pen Anonymous
Nude, 82
2026
UV print on aluminium, Glue, Fixings
These aluminium works come from scans of collections of things I’ve found – paper, postcards, pages from books, lottery tickets, foil from chocolate coins and stickers – I like how they were used, and folded, and forgotten. Then digitised by me, and printed into aluminium – where they could be bent to keep their shape, cut like paper and drilled through. Giving a permanence to a fragile moment.
