Host(s) was a durational performance made in collaboration with a group of other artists who I commissioned to work on the piece.  Host(s) was programmed by Hatch as part of the Nottingham European Arts and Theatre Festival.  Over the course of 4 hours we hand-fed over 50 audience-participants food that was cooked on site.  In exchange for the food we cooked and offered, personal histories were shared and confessions taken.  The performance asked questions about trust, intimacy, hospitality, care and the relational dynamics of strangers.



Architectures of Growth was commissioned by The Future Factory at the Bonington Gallery and was a durational performance exploring Nottingham's lace making history.  The piece took place in Nottingham's Lace Market area overlooking the site where the Nottingham Contemporary Gallery now stands.  Over several hours, I tied hundreds of roses onto the railings separating the public from the building site where the gallery was under construction.  The flowers were tied to the railings using redundant Nottingham lace which was transported to the site using a third generation lace maker's barrow.      



Hello, I Love You was commissioned as part of A Better Tomorrow at the Embrace Arts Centre, Leicester, UK.  One by one, participants were led up to an empty seat where I had placed a card offering the invitation to call me on my mobile phone.  Upon answering the call I proceeded to attempt to fall in love with my participants.  We discussed love and loss, places and memories, sharing confessions and personal histories.  Each participant spent 10 minutes speaking to me, connected only by our conversation and the rope that we both held.  The performance explored the duration of intimacy and what it is to exchange secrets with strangers. 



In 1956 two bells were removed from their site in Nottingham and taken to the St Anne's School in Queensland.  The Nottingham Bells saw me locate the bells and the amateur clock-maker who installed them in Australia.  In an intervention into the Nottingham site due for demolition where the bells were formally housed, The Nottingham Bells was a sonic performance that overlaid histories.  On my instruction, Dr. Pat Flecker, the amateur clock-maker, climbed the bell-tower and hit the bells manually holding his mobile phone which was connected to a modified phone system in the Nottingham site.  I amplified this sound out into the city street where the bells once pealed, connecting two continents and two sonic histories.

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Host was a performance commissioned by Little Wolf Parade.  Working with artist Julian Woodcock, I hand-fed a series of participants in exchange for personal histories.  Food was cooked on-site and traded for thoughts in an effort to better understand the dynamics of social intimacy and proximity.  Over several hours we discussed accidents in Spanish markets, ballet, Brixton parties, what is revealed through hotel windows and many other things.   



Thought Acts was commissioned as part of the Liberated Words festival of digital poetry and was shown at the Arnolfini, Bristol, UK.  The film shows captures a journey through the English countryside on a day when the sunshine animated the words on a performance script as it shone through a train window.  



Flat Lights saw neighbours brought together in an action that used light and performance to question our togetherness.  In the performance letters were posted to each of the residents in Nottingham's Victoria Centre Flats asking them to turn their lights on and off at an agreed time and date.  The letter informed them that I would be watching them from a nearby building.  At the agreed time I observed as lights started going off and on, with each resident unaware of who and where I was, and who was taking part. 



Commissioned by the Pound Arts Centre Bath, UK, Liberated Words from Berlin was a video made in Berlin, Germany that explored one's sense of disorientation whilst traversing a landscape whose past and present make demands for our attention.

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Installed at the Victoria Studios in Nottingham, Preservation explored ideas of archiving material and preserving memory.    

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Commemoration and Non-Place was a series of interventions into derelict sites.  Flowers were installed on the Sterling Board barriers separating inside from outside.  These temporary borders became symbols of transition and memorial.  I observed as anonymous strangers tended to the flowers that fell from the boards, taking it upon themselves to care for a site whose history they knew nothing about.

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a-to-b and Consciousness was a comment on our simple negotiations of space.  I watched as people used wasteland to cut seconds off their journeys, making these invisible traces in the ground evident by laying bin-bag paths.  These materials associated with waste gave those passing through a greater sense of their spatial negotiation. 

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Love at First (Site) is an instructional performance and was selected for inclusion in Ways to Wander which was a project led by artists Clare Qualman and Claire Hind.  54 artists were brought together in a book published by Triarchy Press dedicated to the ways contemporary artists use walking.  The book contains instructions, images and provocations that invite you to wander in ways you might not have done before.  My instruction invited participants to wander city streets and find strangers to fall in love with.  They had to keep their feelings a secret though, apart from sharing the experience with me anonymously of course.  



Sleight Of Hand was performed at the Yorkshire Sculpture as part of John Newling's major retrospective at the YSP.  The piece invited participants to suspend their belief in what they saw happening in front of them.  A series of magic tricks were performed and contracts of trust were established between performers and audience-participants.

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