Thursday, 18 December 2008


The theme was celestial objects - outer space - while Georgina's peice in the centre was on inner-space.
Titles in order shown here:
1- I am dreaming of a different universe
2- Happiness is also inevitable
(wings of the sun)
3- Too much in the sky
4- Golden Gate
(absorbs matter, light)
5- Road to nowhere, drawn 2-5.37am
6 - Wounded galaxies are tapping at your window

Saturday, 27 September 2008


Over the summer I used oils for the first time and made the 12 paintings in the Vanilla series. This month they were shown in the Painting is always a mistake show at Oxford Brookes University.

La Robe Blu

You shall be born again

Monster Island

Berlin Flower Shop

Amy, Iain

Infinite Livez (Lisa Nowak)

The history of the next fifteen seconds


So in love with you




Thursday, 8 May 2008

A Quiet Path Between Two Rivers
An area of the Oxford University Parks five minutes from our studio is called Mesopotamia, the same name as ancient Iraq.

Meso1 Colour PAL DVD 5'10| (looped)

Tazeem in slow-motion kung-fu combat with herself

Meso2 felt-tip on A0 sheet

2003 American Forces Enter Baghdad

Click on image

Meso3 galvanized steel buckets, perspex, water
Apophemia - the perception of patterns that may or may not exist.

Meso4 12x60minute audio CDs in flat cases (detachable from wall)
The show was indexed by this sound mix contained in CD cases arranged in a grid on the wall to make up the PLAY LOUDER photo - these were given away.

Meso5 customized "punk" shirt featuring Iraqi ballot paper, barcoded gas-attack memorials

Sleeve and track-listing sticker of unlimited edition CD

Friday, 25 January 2008


Ju-87 Vanity Plates was my first year first semester assessment show. I put the work and life of Joseph Beuys and the Basic Instinct, Flashdance screenwriter Joe Ezsterhas together after I'd got their biographies mixed up on the bus.

The title comes from what vanity plate Beuys might have chosen for his Ferrari had he followed a similar Hollywood career to Eszterhas (Ju-87 being the type of aircraft with which he and his Luftwaffe comrades inspired Ezasterhas' family to head out for the states).

Flashdance: Cleveland in which Eszterhas offers his message of escape from the Hellish landscapes of his childhood.

Flashdance: Cleves. Beuys a native of the Cleves "terrorlands" turning instead towards the Underworld as a part of his shamanic journey.

Aztec Camera you put your face in its hollow metal head and it takes your picture. Involved in fine art and the movies both men understood how an audience interacts with- and validates expressive work.

Thor, Loki and Dillenger were figures who Beuys and Eszterhas could both identify with. Here in Emerald City I presented the screen upon which such myths are held. The names are written as stars above the emptiness that hangs over the Grand Canyon.

Micheal Ovitz, Eszterhas's then agent once threated him, "my footsoldiers who walk everyday down Wilshire Boulevard (will kill you)". These Footsoldier Cubes - here looking a little worse for wear - where the exhibition's catalogue.

Basic Instinct
features an IVF kit and an ice-pick. Beneath it is Jagged Edge - a typewriter and surgical gloves. Both are a look at violence (both consensual and non-consensual) and creativity.

In Burn Hollywood Burn a monkey with a CCTV head surfs on the leg of a lunar landing vehicle. Even if the moon-landing wasn't faked up by Hollywood at the behest of the Military-Entertainment Complex, the main discovery was a of a dead world, and looking back one full of life - our own. At least for now. There have been few images as big as those first images of the Earth, and like the monkey's head we seem nowadays caught in an inward-looking CCTV universe.

Finally BERUFSVERBOT (the 1970s German law banning radicals from public service) and Stone Coyote Siren look at direct links between the Beuys/Catherine Tramell personas, while the art-brut Null Triptych thinks about how the Beuys/Eszterhas themes of orthodoxy's destructive power to hijack positive human experience may have been suggested in a world with neither cinema or fine art.


I made these acrylic paintings over the winter break. I was looking at a lot of art-books and trying to connect with Modernism, after all that clinical Contemporary work in the autumn.

Escape from Alcatraz
A big painting influenced by Vorticism and pulp, noir-ish illustrations
done as part of a perspective exercise I set myself.


Another painting that set out as a perspective exercise.
The only picture in this set based on drawings made outdoors.


A portrait exercise. I wanted to make one that included topical events.
I thought the subject was in Kenya at the time of the election chaos,
and the style is reverse-engineered modernism based om African masks.

C'ici c'est ne pas une guerre
Looking at Magritte's take on reality I tried to suggest the
of the presentation of the war in Iraq.
The American tank is isolated against
a CGI-ish,
video wash of un-meaning.

The Oath
Another portrait, this time from a magazine. An American soldier -
who was later killed in the conflict - takes his oath as a Marine.

Large abstract painting
I've always had problems with abstract art. Here I found a style I liked -

An exercise to suggest speed. I was reading a book on
Luc Tymans who doesn't really "do" speed - I think
he saw where all that Futurism lead so disasterously in the
20th Century. But there is something sad and still in even the
fastest car, and here it is - the new Audi.

Here I wanted to draw a right hand with my right hand and my left with my left.
It made me think of Ancient Rome (the twins?) so I put an eagle in.

This looks much better in real life. Again, I was thinking about
abstract art and how maybe there's a Rorschach thing going on-
all those pompous titles validating the amorphous blobs.
So I made this skull, and it has these
amazingly disgusting raised
veins that are again hard to get a photo of. A real plastic
horror-shop item and pretty big!