Sleaford City Limits!2010: Volume 1 - summer show July/September at the Hub: The national centre for craft and design. I will be making a vinyl compilation album with the community of Sleaford under the Let's Play Records! Banner.

‘BYO Disco! 2' - received funding from FEAST for 6 events in the North and East of Cornwall.

‘BYO Disco! The first roadshow received from funding from Ace Council England’s grants for the arts programme. The ‘road show’ project consisted of 30 events spread over 2009 using a traditional ‘vinyl-only’ mobile disco that invited the audience to take control of the playlist and bring along the records that they wished to dance to. The road show took place in a variety of community settings and encouraged collaborative involvement and co-organising with local community groups to create an art and social event as a way of developing more meaningful exchanges with audiences to facilitate a more tangible understanding of conceptual art through the exploration of diverse platforms of presentation, performance and participation. The road show endeavoured to build a fun practical aspect into the project by becoming a genuine fund raising mechanism for particular group projects.

Offsite: Inside’. Newlyn Art Gallery. This group exhibition, curated by Sara Bowler artist and business fellowe at U.C.F, consisted of artists working with site specific environments and contexts. ‘Offsite: Inside’ explored whether one can resolve the act of presenting site-specific work in unrelated surroundings and how critical writing, is brought to bear on temporary, time-based and ephemeral work, conceived and delivered outside the gallery and agency system. In the gallery I used a looped 60 min video work that recorded the ring barking of a tree and an installation of the bark that was removed during this process. At the end of the show I concluded with an interpretational on-site guided walk as an exploration into whether this is possible.

An article written by art critic Paul Glinkowski can be found on the links below:,com_docman/task,doc_download/gid,16/Itemid,44/

Artist in residence with the National Trust: The focus of this residency was inspired by the history of the landscape, its changing use and the working processes and that occur there. As a subject matter, Cornwall’s natural environment, geographical position and cultural history are distinctive. I used these features as a starting point for developing my art practice over a year long environmental art residency with the Lizard National Trust. The residency was designed to initiate artists’ responses in a variety of media to a wide range of issues that affect the properties under the management of the NT. These included, for example issues such as small and large scale environmental pollution, visitor pressure and the effects of climate change. My art practice during this time centred on society’s relationship with natural resources and its’ collective use of energy. I tailored the objectives of the first project (CUT/STACK/BURN) toward the collaborative making of a public artwork that could develop a visual dialogue about this. Of particular interest was a desire to use sustainable materials that had been resourced from existing land management practices already occurring in the landscape. My interest in using material such as furze (gorse) harvested from heath land, is informed by my experience as an artist and my involvement in nature conservation over the last decade. I was keen that the evidence of my activities (whose concepts were influenced by traditional management of the landscape) on land, farms and NT properties, was unobtrusive as possible and impermanent. That the collaboration between art, agriculture, conservation, community and habitat would perhaps lead to a mutually beneficial relationship/work in some way.
Through this residency I explored how a visual interpretation of this might proceed. I am equally interested to understand how contemporary artists can engage with the environment, or landscape, given the legacy that, on a regional level at least, still appears to be encumbered with issues of pictorial representation.

Create/Destroy/Destroy/Create (ongoing). This durational and performative project is a visual re-evaluation of landscape management lying under the shadow of environmental uncertainty [climate change]. It is an interaction between manager, resource and artist using active site specific intervention as a tool for developing a multiple of visual interactions. The work resulting from this process aims to engage with the challenges that are effecting the implementation of ancient, traditional and sustainable processes in the contemporary management of the landscape and its resources. (See offsite:inside)

‘What happened when an artist came to our farm!’ (Film, 15min) shown at ‘Screen Actions’ - the young film makers part of Cornwall Film Festival, Princess Pavilion, Falmouth. This was a collaborative video film by young children about their involvement with the CUT/STACK/BURN project on their farm.

‘Research/Record/Remake’. Part of ‘MORE Cornwall’ - artist led projects throughout the summer of 2007. ‘R/R/R’ explored cultural activity in the landscape and focussed on graffiti's potential to enhance the sociological context and interpretation of a historic site. The focus of this non physical intervention was on a collection of political graffiti (circa 1980) to be found at mine workings on the cliffs at Botallack West Penwith, Cornwall - a part of the Cornish Mining World Heritage site. Working from an archaeological and socio-historical perspective the project adopted a non-invasive approach to recording and rediscovering disappearing graffiti and concluded with a presentation of the visual research through a display of documentary photographs, site specific projections, maps, guided walks and a series of remade digital images of the graffiti in situ.

‘Risk’ – Creative Action in Political Culture. I exhibited 140 poster works for ‘The Self Regulating Poster Wall’. A part of the wider ‘Risk’ exhibition at the CCA, Glasgow.

‘Voicing dissent’ – Responses to the war in Iraq by artists working in Cornwall, Falmouth Arts Centre.

‘Festival of the Arts in Newlyn’ ‘Let’s Play Records!’ event
Lafrowda Music Festival – As ‘DJ Deafened’ (artist DJ in residence) during the festival I organised the first ‘Lafrowda Festival Fringe’. For part of this month long residency involved 2 performative art and social events using the vinyl only ‘Let’s Play Records!’’ resources, afore runner of ‘B.Y.O Disco!’. These events focussed on audience participation and collaboration to broaden the concept of what contemporary art can be and where it can be staged. The events structure was based on the traditional community group benefit event for raising funds and the profile of the festival. I also created a large willow sculpture of a gramophone after the iconic ‘His Masters Voice’ painting, used as a logo by EMI, complete with ‘Nipper’ the dog, for the festival procession.

Lafrowda Music Festival - I returned again as artist DJ in residence providing a BYO Disco! Running the festival fanzine workshops and entering a large scale Nipper this time complete with turntables.

‘Transition: Curators edition
- ‘LET’S PLAY RECORDS!’ Newlyn Art Gallery.

LPR!’ was an opportunity to explore the role of artist-curator and use it as chance to discuss issues of accessibility in contemporary art. The playing of records was adopted by as a platform for its once universal popularity, proven accessibility and its potential as a social hub and creative platform. From the music to the cover art, to the events, social scenes and movements they inspired, vinyl records have over the last 100 years made a significant impression on our cultural and social activities. Further to this was a desire to explore more peripheral elements of my art practice such as the influence records had to play on my early development as an artist. ‘LPR!’ set out to investigate a concept of ‘universal accessibility’ for the staging of contemporary art through the exploration of diverse platforms of presentation and performance. Through the playing of records and other interactive events, ‘LPR!’ sought ways of removing potential barriers that may exist between contemporary art audiences, artists and their work by creating live events that encouraged hands on participation and active co-curatorial collaboration. ‘LPR!’ served as an impartial, open ended enquiry that raised issues with the way contemporary art is delivered to and interpreted by audiences. The format created by ‘LPR!’ - which loosely resembled an old style record shop - became a study of the practicalities of achieving an all encompassing formula of accessibility – a potential ‘holy grail’ - and whether this is attainable or indeed desirable.

‘Extended Play!’
A summer show case for Let's Play Records! At the Exchange gallery, Penzance. Consisting of a series of events, workshops and happenings that used vinyl as a motive for play in an attempt to level the field between artist and audience.


‘CUT/STACK/BURN’ was a performative site specific re-enactment of a redundant rural activity (in this case furze or gorse cutting) that used art installation as a platform to develop a visual conversation about the absence of sustainable approaches in the management of the landscape and its resources in an age of climate change. The adoption of ancient and traditional cutting and gathering processes made use of and became part of existing cycles of heath land management being operated at two different heaths on the Lizard and West Penwith, Cornwall. This performative durational project, involving a diverse cross section of the rural community, culminated in a large scale, site specific installation at Tremenheere Sculpture Gardens near Penzance where it was purposefully destroyed by fire at a public event on its completion. CUT/STACK/BURN was funded by the Arts Council in conjunction with the HEATH project and supported by the National Trust and Tremenheere Sculpture Gardens.

August 2007 - 'Water Treatment Plant’ . A postcard/interpretational material and installation project.
'Water Treatment Plant’ is intended to be a functional facility that is to be built in the on the banks of Loe pool in full view of the main house in the heart land of the Penrose estate near Helston, Cornwall. [Loe pool suffers from along history of agricultural and domestic pollution. The bloom from the blue green algae, which is only visible in the summer months, forms rafts that block out sunlight, and has seriously degraded the pools ecology] The utilitarian industrial design, deliberately intended to be obtrusive for its setting, uses temporary scaffolding, plywood exterior walls, doors and a corrugated roof. Installed inside the structure a working model of a working water treatment plant and uses the same principals utilised by Hans Haacke in his work 'Rhine water Purification Plant', installed at Museum Haus Lange, Krefeld, Germany in 1972. The physical presentation of 'Water Treatment Plant’ was to cause an abrupt intrusion in the sublime landscape at Penrose. It was intended to stir debate, through visual conversation, about the drastic measures that could be invoked to clean up the pollution encountered in the pool. Is this kind of interaction necessary? And if not, what other options are there?
'Water Treatment Plant’ exists, in its current form, as a web based interpretation project and is working towards its inception as an installation.


(The Happidrome is a WWII ex radio communications bunker situated on the Goonhilly downs nature reserve Lizard, Cornwall and is managed by Natural England. This was the 2nd exhibition to take place in this artist led space)

The presentation of the CUT/STACK/BURN archive developed out of an invitation to participate in the HEATH projects ‘Heath Fest’. The wide ranging events of the Heath Fest were intended to promote the value and uses of heath land. This made it possible to present the CUT/STACK/BURN project archive and present new work in a relevant site specific context. This context helped to further underline the links between the CUT/STACK/BURN project, the landscape, our activities within it and the work of the conservation organisations and the communities involved. During the exhibition a catalogue of films that recorded the progress and demise of the CUT/STACK/BURN project were shown as part of a rolling programme. A collection of artefacts and new installations generated by the CUT/STACK/BURN (blogs/film/photography/found objects/artefacts from the burn itself) and the peripheral activity surrounding its construction, destruction and aftermath were also on display. The importance of the archive material and its inclusion in this presentation was, in part, an attempt to highlight the relevance of unseen research activity generated as a consequence of the visual work itself.
This exhibition was supported by the National Trust in conjunction with Natural England.

‘The New Landscape’ will bring together artists working in Cornwall who have, in different ways, been inspired by the landscape. One of the distinctive features of art made in Cornwall over a number of generations has been its relationship to the landscape. In recent years in Cornwall artistic representations of the landscape have taken a large number of forms beyond traditional painting. Increasingly, newer media, like video and digital photography, have become important, often as a way of documenting interventions or performances in the landscape. This exhibition will show a wide variety of work in a range of media, which all share a relationship with the Cornish landscape.

Artist in Residence: E.R.o.C (European region of Culture)

An International residency in 3 European regions: Poland, Finland and Cornwall

Nine artists, three each from the partner regions of Cornwall (UK), Kujawsko-Pomorskie (Poland) and South Ostrobothnia (Finland) were commissioned by the European Region of Culture Campaign to work as agents of enquiry. The artists, whose practices cross a range of art forms, including design, performance and writing, undertook 3 week long residencies - one in each of the partner countries, drawing on cultural references from the 3 regions.

Poland residency

This project uses prominent symbols of culture to be found in Kujawsko-Pomorskie in an attempt to create a visual discussion regarding how the cultures of 2 regions maybe able to flourish side by side. The project is an open ended enquiry that uses different approaches in order to investigate whether this is possible. The project also considers how a region might preserve its culture without immobilising or diluting it, so that what remains is a relevant and vibrant culture that invites us to learn from it. This enquiry has similar parallels for Cornwall in that it has recently been merged together to form one region with its historical districts no longer remaining.

A film from the work 50/50 filmed at CoCA, torun, Poland 2009

Finland residency

Title: Power Park/Ränkimäen Talomuseo
Video: [17.31 minutes /15.39 minutes]

This video work stems from my interest in the de population of rural areas. How does this affect the communities who remain there and what happens to their culture? Can a connection with our history and traditions be maintained?

Shown at the Lapua Art Centre, South Obstrobothnia,Finland.

Cornwall residency - ‘What is Culture?’

The ERoC organisation, now part of Cornwall Council, is trying to establish a county wide showcase for the culture of Cornwall in 2014. The focus of the campaign is the creation of a year long cultural platform that underlines the importance and vitality of culture to be found in a rural region. It is important therefore that that an inclusive and extensive approach is employed in its attempt to establish such an event. It is my opinion that the widest possible consideration is given to the diverse range of cultural interests and activities to be found here and that a radical re appraisal of how it might be presented and where is fully investigated. That it does not become an urban centric event is important. A region wide cultural event that is balanced in it’s thinking and fully embraces its rural rural context. This will go some way I hope to ensure that the culture show cased and supported through ERoC has relevance for the people of Cornwall and the visitors who come to see it. From this position I approached my residency in Cornwall with the question ‘What is Culture?’ The results of this lens based enquiry were presented as large format prints and sold as a series of postcards in an empty shop in Falmouth, November 2009.

what is cultue?