Old media such as books and film are a lens through which newer search behaviours can be thrown into focus. That is why my most recent work approaches printed matter through a series of different ‘user’ attitudes. Today’s knowledge economy operates on a principle of immediate access and equivalence — all information mediated via digital conversion. Whether this has an homogenising or differentiating effect on us as societies and individuals is still up for grabs.
What you don’t know, can most definitely hurt you. That’s why my latest work explores the cultural and social conventions that dictate access to knowledge. How this knowledge is validated and enters into the canon of endorsed cultural material decides the nature of our society and our enfranchisement as its active participants. Enter an inverted library where books stare back blankly from the safety of the canon.
We’ve got your number… or at least the recent Draft Communications and Data Bill sought to get it, by building a case around the separation of form and content. This work exposed the workings of this potentially useless but still highly intrusive archive, by redacting and storing all emails sent by the artist during the period of the bills consultation process.
Morden Hall Park, Stable Yard Gallery. The wry formality of the National Trust’s by-laws of 1965 were the star t point for this piece. The aim was to re-situate this legal discourse in a modern visual language, and expose its workings.
DATA WITH DENSITY
Graphic projection of 2,232 posts by 120 people followed on Twitter over the course of one week. These were separated into four categories, weighted according to a system of relevance scoring with deductions for spam, and plotted across days. Horizontal bars display standard deviations, showing significantly below or above average activity.
Be yourself, in 140 characters. The detritus of Twitter feeds followed by the artist, were collected, categorised and preserved with time stamps. This work explored the thesis that social media commodifies subjectivity, but also expands its theatre of operations.
Information can build a world. Signage and screens are semiotic cues that come together in the trope of the information booth: a place (within a place) where data can be searched, itineraries arrayed and plans made.
What happens when information breaks down, when the familiar becomes a surprise on closer inspection? Citing the cues and conceits of plaques and public signage, these works reverse a term used by Franz West to become 'maladaptives'. The aim is to create a useful kind of uselessness.
YOUR PLACE OR MINE?
The humble public bin. Repository not only of waste, but of information and zoning behaviours. Who designs this kind of street furniture and why? What status do they confer on private shopping centres and public streets? These screen prints and related works attempted to map and categorise the assumptions and effects proliferated by these planned environments.
DRAWINGS AND 3D STUDIES
These drawings and casts formed a research background, investigating the way patterns and habits emerge in the movements of informations, crowds of people, objects and environments. The aim is to evolve a visual language for exploring complex real world information, that is convincing in the integrity and depth of information conveyed but open in terms of context and meaning.