Overview of all mediums (test 29.08.19)


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2015 Site Unseen. ICA London

2014 Foundlings at Ca' Pesaro Museo Internazionale d'Arte Moderna, Venice <<<< see more

2014 Foundlings at HuntKasner Gallery, Prague <<<< see more

2014 Foundlings London Art Fair in association with the Eagle Gallery <<<< see more

2014 Unsung, performance Rich Mix London

2014 Open Tromosø Norway, performance lecture

2012 Unsung Music project, Medieval Hall Dartington

2012 Combine V22, London <<<< see more

2011 Broken Voices Caracas La Estancia, Caracas Hola. Sabana Grande, Caracas

2011 Caracol, Caracas

2010 STRING various locations Caracas

2009 Broken Voices Louise T Blouin Institute Sticks and Stones Venice Biennial

2009 Hide and Seek. The Foundling Museum, London

2008 Lost And Found Tete a Tete Opera Festival, London

2007 Broken Voices St Georges Church, Venice

2007 Broken Voices Liverpool. A Foundation

2007 Broken Voices Riverside. tete e Tete Opera festival (2 Nights)

1996 Staubsauger. Kombirama, Zürich. 2015 Site Unseen. ICA London

The Foundling 2014

The Foundling 2014


I made my first moving images with my dad’s Russian Standard 8mm camera when I was about thirteen. It had a wind up mechanism three different lens and a soft leather case. I also had a film splicer and cement and I loved cutting the film. 

When I went to college I was lucky to have Peter Logan teaching film, he got his friends in too teach as well, so I had a few lessons with Derek Jarman. He showed us his films he made by the Thames, with mirrors reflecting the sun into the lens and making the world go dark.

Then I made my first video works, on half inch reel to reel video tape. I then found Super 8 with sound. Super 8 had a more widescreen format unlike standard 8 which was half of 16mm.

2017 Blocking Passing

2016 H 16min

2011 Caracol 12min

2011 Hola 3 2min

2011 Hola 2 4min 14 sec

2011 Hola 1 5min

2008 Foundling 24min <<<< see more

2007 I’ve got nothing to say 30 sec

2007 Broken Voices 3 screen projection 23 min

2007 Expletive/Deletives 4min

2006 Noise 3min 31 sec

2006 Animate 1 min 30sec

2006 Oveture 8min

2006 Erotica 2006

2005 Below Ground 7min

2005 Lets Stay with These Pictures 7min

2005 Ground Zero 7min

2005 Fucknauman 47 sec looped

2005 Stop Making Sense 8 min (documentary)

2005 Toilet Duck 5min

2005 Firework 1 min 56sec

2005 Why Don’t We Talk Anymore 2min

2005 Lightswitch 4 min

2005 Mahli 8 min

2005 Madj’s story 8min

2005 Yasmin Farah 6min

2005 Alhmend 12min

2005 Leak 1min

2005 Life Class 3min

2004 (of)Fence 7min

2004 Floating One Loop

2004 Opening/Closing 4min 30 sec

2003 Grand Central 8min <<<< see more

2002 Evening Chorus 5 Screen Looped

2001 Self Contained 8min

2000 Unnatural Acts 3 Screen Projection 24min <<<< see more

1999 Day For Night 12min (Audio Piece)

1999 Marking Time 2 Screen Projection 15min <<<<<see more

1995 Caracas 5 min (Documentary)

1977 ABC 30 sec

Marking Time

Marking Time


Broom Drawings 1988

Broom Drawings 1988

I have been working on the same paper since 1988. Occasionally I cut the paper to a specific size., but usually I accept the given size of 128 cm 90 cm. I like the idea of a given - something I take for granted. I feel one of the common treads of my work is this acceptance that the site, whether it be a building or a piece of paper comes with an existing set of circumstances. These situations are the material I work with.
The method I use on the paper is almost completely the same. The paper itself is a tough industrial paper that I buy direct from the manufacturer. Its usually for printing high gloss images. This means it is coated and has a shiny water resistant material.
I pencil in a drawing first the using an etching tool scratch in the pencil marks. Sometimes I cut a layer of the paper away. This exposes the fibre beneath. 

I then rub oil stick into the scratched and exposed areas. The next method is erasure. I may leave the oil on the paper for a few weeks or minutes and the kind of line that I get depends on this and also on the persistence of the erasure with white spirit.
I have different levels of control, the weight of my hand the speed, the amount of white spirit are all variables.
Sometimes I scratch on to the oiled areas

2012 Capital Revisited <<<< see more

DATE Cuba Drawings <<<< see more

2009 Rembrandt self-portrait

2000 Line Drawings

1995 Caracas Drawings

1990 Rope Drawings

1998 Broom Drawings



I first began taking photographs with my dads old bellow camera. It took 120 film. I still have the camera. I progressed into my own cheap cameras until I begged for a 35mm. I got a Praktica Camera, from East Germany which I still have. It was a SLR, single lens reflex. I was very interested at school in only two subjects photography and drama. 

Although I hated science I loved the chemical alchemy that turned a blank piece of paper into an image. I studied the technique very carefully. By the time I was thirteen i was developing photographs in the bathroom at home. The large negatives of the 120 film were perfect for contact prints. 

So photography has been one of the media that I use constantly. I love the mechanism of the camera and the developing process, I like doing things.

When digital cameras first came out I did not like them, but now I love them. I love that it is adaptable and you can push it too its limited and I specially like that the results are instant so you can see what you have done.

My most recent camera is a Polaroid pogo camera that produces instant digital prints.

2017-2019 Footfall / Blocking Passing

2011 America

2011 Once Bitten

2010 Cuba

1996 Inside Bankside

1996 Untitled House




Venice Night

Cross Bones Memorial

Epping Forest


Short Cuts

Portrait / Landscape

Cut outs

I had been cutting into things throughout my life. I had made works back in 1981 cutting shapes and lines in cardboard constructions. Since 1988 I have been cutting, scratching and slicing into sheets of paper, in a series I still continue today called Page-Specific.
I began making a series of proposed and invisible works. I made a piece just of labels. One of the ideas was to make a wall cuts. This came about after doing massive building work on my own house. 
I saw the possibility of using the wall like the paper as a material. As usual once i had this idea i tried to find somewhere to try this out.
I had friends living in Leytonstone whose ACME houses were about to be demolised. I tried to get permission to work in these houses but it was denied.Well, I just gained access illegaly and made my work. I had to be quick to avoid detection from the police and security guards that were all over the area as it was the centre of massive demonstrations and occupation.

2013 Capital Revisted Drawing Centre, New York <<<<< see more

1997 Strip Eagle Gallery, London

1996 Mirades, Museu D’Art, Barcelona

1996 Inside Bankside, Tate Modern , London

1996 House , London

1995 Care and Control , Hackney Hospital, London

1995 Capital, British Museum, London

1995 Interventions in Space Museo Bellas Artes, Caracas

1994 Site Unseen

Text and Talks

About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About About

2015 I Don’t Have Ideas / I Don’t Do Research / I Am Not Original 2014 Open / Apen

2014 Unthink

2012 The Public V Art

2012 Hanna Darboven: A Personal View

2011 Before I Start

2011 The Unnatural Order of Things / The Art of Learning

2007 Lost in Space

1996 Art From Scratch

DATE My Short Comings

DATE Playing At School


2012 J'ai besoin du visiteur Chargée de mediation FRAC Nord pas de Calais

2010 Deschooling Society. Hayward and Serpentine Gallery

2005 Lecture To University of Architecture Berlin


1998 Julia Hankin Show. BBC North. (Interview)

1988 BBC World Service.

1996 Whitechapel Open. BBC Radio 1.4 Jan 

1996 Capital + Staple. 1996 Art reviews. Andrew Davies. Viva Radio. 16 Oct

1995 Staple. Art Reviews. Andrew Davies. London News Talk. 10 April 

1995 Capital. Trisha Ingrams Show. (Interview)

apen/OPEN 2014

apen/OPEN 2014


Chrome Pallet 2000 Life size chromium plated

Chrome Pallet 2000 Life size chromium plated

I have always made things, my first works were sculpture, abstract ready made when I was fifteen. I had never heard of a ready made but by chance i was on a school visit to the Commonwealth Institute in London. In the foyer was  what looked like bits of metal randomly assembled. I asked my teacher what it was “sculpture” he said. 
Later I found out it was by Anthony Caro. What amazed me was that it was made from ordinary materials, things I recognised and I thought it was amazing. A few months later I was taken to the ICA and saw the work of Kienholtz. This was like a revelation. All of the small water colours, sketches, cartoons and poetry that I had been doing in secret made sense. I always knew I was different - I was an artist.

2006 Half Life

2003 Inhibit, Mattress/Wall drawing

2003 Light Level

1998 Contents