Digital audio created from local field recordings was listened to via my personal iphone, and passed from individual to individual during the exhibition at Hospitalfields.

Duration: 10:00 mins

8.5×11 sheets of paper, Scotch® Magic™ Tape, youtube tutorials from kids 8-10 years of age

Neon, and envelopes of wildflower seed for bumblebee habitat. An interactive installation that plays with the idea of sites and non-sites. The work is titled “How curious! how real!” and includes envelopes of wildflower seeds that visitors were invited to take so they could plant the seeds. I am interested in exploring these ideas further and helping create sustainable communities.

Neon, and envelopes of wildflower seed for bumblebee habitat. An interactive installation that plays with the idea of sites and non-sites. The work is titled “How curious! how real!” and includes envelopes of wildflower seeds that visitors were invited to take so they could plant the seeds. I am interested in exploring these ideas further and helping create sustainable communities.

A collection of footage from around Scotland showing members of the public ringing the bells which comprise the work “blue, blue” before final installation. The video was one of the files on the drive Stands Scotland Where It Stood, and was part of the digital space of that physical exhibition.

A 16 GB USB shared on deaddrops.com 1 file included 12 GB available for others to share. This is part of a work of Aram Bartholl who began placing Dead Drop USBs as a way to offline file share in New York City in 2010. This continues providing that platform here in Scotland as well as allowing others in the group show, or the public, to share other work, supplement their current show, or just be part of a time capsule. The first file on the drive was mine to kickoff this digital space that provides another room for exhibition.

A collection of handmade and manufactured 20th-century bells and vibration motors installed on the ground floor of the Glue Factory in Glasgow. Each bell vibrated silently at a low ultrasonic speed that could only be perceived if touched. Bells would gently sway during the installation.

Fifteen internet memes created with a meme generator projected from the CCA onto Sauchiehall Street, made as a result of a collaboration with curator Rudy Kanhye, responding to Caroline Woolard’s application of Open Source models to art production and her invitation to develop new models that sit outside traditional “gallery” structures, and more closely reflect the conditions of freedom in the use and re-use of art.

A series of social engagement projects kicked off as part of an exhibit in which a service was offered, and in exchange of fulfilling the contract, I was to be given a drink of my choice at a Hope Street venue of my choice. 

The services offered – my tasks – varied widely and included taking guitar lessons, playing pool, drawing portraits, a choice between listening to completion a growing Spotify playlist or having a conversation about race, and having to prove reality was real. Coming up with the one question a curator should ask before working with a social engagement artist, going on a date with a woman’s male persona to see if he was gay, and listening to someone talk about their feelings, were some of the more creative exchanges.

During December 5, 2016 – December 16, 2016 I had an open piece where I determined the structure but the public created the content (much like Hope Street.) I invited the public to join me in an interior with a west facing window from sunset to nautical twilight during the two weeks before the winter solstice. During that time, as the room and city grew dark, the visitor/audience and I experienced the transition together; they directed and experienced their own temporal moment.