About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance About performance
2015 Site Unseen. ICA London
2014 Unsung, performance Rich Mix London
2014 Open Tromosø Norway, performance lecture
2012 Unsung Music project, Medieval Hall Dartington
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
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
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
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
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 Once Bitten
1996 Inside Bankside
1996 Untitled House
Cross Bones Memorial
Portrait / Landscape
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.
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
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)
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