Monday, 21 May 2018


Wave 2016, collage. This work formed part of a series, Bring Out Your Dead. As with much of my image based work, it is an attempt to examine the authority of the printed image and the narratives coded into them. The use of found imagery produces both a sense of familiarity and one of unease: in the cutting and reordering there exists both a continuity and a disjunction with the world as it is imaged. It allows, through the physical act of reassembling, time slippage and the questioning of representation, hierarchy and power.

Southside Cinerama presents How The West Was Won (MGM 1962) A site-specific installation, involved converting the space of the ubiquitous tenement bay-window in a living room into a Cinerama screen. The film chronicles the fate of a family of pioneers as they cross the American West and brings the narrative, in the soaring finale, to contemporary America- complete with scenes of traffic jams, skyscrapers and industrialized farming. Although in many ways of its time, the film begins to make a tacit nod to a more progressive understanding of the American origin story, with allusions to the mistreatment of Native Americans, the plight of women and the excessive behaviour of corporate America.

This work took place as part of Glasgow Open House Art Festival, 2017. The festival sees artists open their homes and other non-gallery spaces to the creation of work and events.

Memorable eating part of a group show at SOIL Gallery, Seattle USA 2014. This deck of cards with vinyl text took quotes from the guidebook to the Century 21 Seattle World's Fair of 1962, bringing the predictions of that event to the time of their anticipation- the 21st Century. The idea was that exhibition visitors could take the cards and so distribute them around the city. It was intended as a way to critique both the aspirations in the literature and the extent to which they emerged.

This work was part of Museum For An Imagined City in which a group of Glasgow based artist were asked to create visuals of their conceptualisation of Seattle, as a place they'd never visited.

Above, All the world's a ping pong table 2015. Part of a roving annual residency programme in Sweden, Tomma Rum (Empty Space) changes location each year. 2015 saw it take place in the remote logging town of Ljusne on the Baltic coast. Deindustrialised and depopulated, the town had become temporary home to people awaiting decisions on their status as aspirant citizens of Sweden.

The work involved remaking a defunct cutting bench as a ping pong table, creating a work that was sculptural, participatory, site-specific. Above all, it was simple and served as an ice-breaker at the weekly exhibition held at the former turbine hall.

Sunday, 20 May 2018

above, When there are people, then there are none 2018, collage. Continuing a more experimental approach, mainly looking at how two pieces can marry. Below, Inks and solutions 2018 and, bottom, Direct hit 2018.

Friday, 2 March 2018

Spark Regional Upheaval 2018 as part of preparatory work for time spent at the Glasgow Print Studio.

Friday, 10 November 2017

Bob and his British record 2017