about
 

I am an artist working with art and technology, critically engaged with the complex protocols of platform and surveillance/disaster capitalism in everyday assemblages, with a focus on the inter-dependencies between code and language in hyper-networked culture. I utilise various digital media, often distributed, with aspects of live programming, to produce: video / sound works, sculpture and Virtual Reality works, that often come together as installations. My work is conceptually framed in ways that critique is articulated through it’s production, drawing out new behaviours emerging from human engagement with technology, through performative modes. Experimental writing methods and strategies, often drive the work, in both an on and offline context, as well as spoken word performance. 

Post-Human.

As a child I experienced first hand the desire of parents to ‘edit’: to modify the growth and development of their offspring. I was sent to the Tall Girls Clinic, Great Ormond street Childrens Hospital, as an anomaly in the acceptable height graph for a then female child. Thus affording me a perspective that foregrounded the body and gender with a plasticity run on bioinformatic code. Something that I have embraced through a posthuman lense, a machine aware of being a machine (Paul B Preciado) whereby the knowledge afforded by this deconstruction brings forth the potentiat to construct things differently to the past.

My ongoing body of work explores probability and risk within surveillance/disaster capitalism from a critical xeno-feminist post-human position. I am interested in acknowledging, and thinking through the complexities of the subject emerging in synthesis with their environment, from a critical intersectional position. What that means is there is an emphasis on grasping something of the complexity of the multi-temporalities and scales, cross-species contaminations and alliances, necessary to confront the environmental challenges ahead - within an evolving awareness of power relations, which necessarily take into account colonial histories as well as neocolonial extractions of value.

​

​

I am also founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform at Hackney Downs station, London.  Ideas that come of publishing, distribution, and dissemination, that lead to a critical analysis of post-digital art production, are shared in my practice as an artist and inform the working remit of Banner Repeater. I developed the Digital Archive of Artists' Publishing (DAAP) with a team of people that gathered around Banner Repeater.

​

​

My work is included in Information edited by Sarah Cook (2016) - an art-historical reassessment of information-based art and exhibition curation, from 1960s conceptualism to current digital and network-based practices - Whitechapel Documents in Contemporary Art and MIT press series.  See here for more details: https://mitpress.mit.edu/books/information. 

​

The Underlying is currently being written about in four journals to be published shortly.

​

​

​