SELECTED GROUP EXHIBITIONS
COLLABORATIONS AND PERFORMANCES
2005-2010 PhD (practice-based) Liverpool University, supported a Gladstone Fellowship
from Chester University.
1993-1995 MA Sculpture, Royal College of Art
1986-1989 BA (Hon) Embroidery, Manchester Metropolitan
2013 Sisyphus: Huddersfield Art Gallery, Huddersfield
2012 TOIL: Project 4 Gallery, Washington DC, USA
2010 Moments of Repetition: The Nunnery, London
2004 Bristles, Balls and Brass: University of Hertfordshire Gallery
1995 5 Squared: Atrium Gallery, Coopers and Lybrand, London
1994 Eroding Pythagoras: Angel Row Art Gallery, Nottingham
1993 One line and a Diagonal: The Pearooms Gallery, Lincolnshire
1992 Mathematics of the Eye: The Bonington Gallery, Nottingham
2019 DATAMI: The Bozar, Centre fro Fine Art, Brussels
2019 Resonance III Festival: JRC Italy, a SciArt and Eu funded project
2018 Place, Space, Action: The Market Gallery, Huddersfield
2015 Carbon Meets Silicon: Oriel Sycharth Gallery, Wrexham
2015 ROTA Thought Positions in Sculpture: Huddersfield Art Gallery
2013 Finalist: 7th International Arte Laguna Prize: Venice Arsenal, Italy
2012 Upcycle: ATHICA: Athens Institute for Contemporary Art, Georgia, USA
2011 Compulsive, Obsessive, Repetitive. Towner Contemporary, Eastbourne
2011 Textures of Time: Frederick Parker Gallery, London
2010 The Plazaprinciple, Leeds
2010 Making and Unmaking, Repair and Repetition: Axis online. Curated: Helen Carnac
2009 Winchester School of Art Research Anthology: Winchester Gallery
2008-09 Second Lives – Remixing the Ordinary, The Museum of Art & Design, New York
2008 Unnatural Histories: The Nunnery, London
2007 Negotiated Positions: Chester University
2006 The Same Difference: Stark Gallery, London
2005 In-formation: The Foundry Gallery Vault, London
2004 Fantastic Plastic: 20-21 Gallery, Scunthorpe
2003 Venus Sapiens: Luke and A Gallery, London
2003 Mirror II Nature: Mile End Art Pavilion London
2003 Chairman’s Choice: The Nunnery Gallery London
2002 The Chelsea Physic Garden Exhibition London
2000&2002 Art Futures: The Barbican, Contemporary Art Society, London
1999-2001 The Hannah Peschar Sculpture Garden
1997-1998 Free to Move: Birmingham Craft Space, Touring
1997 Exhibition: Addison Wesley Longmans, Harlow
1996 Art at 100: Hammersons, Park Lane, London
1995 Art Marathon (BBC): Derry, Northern Ireland
1995 Chelsea Physic Garden: Summer Exhibition
1995 Paris Selection (RCA): The Mona Bismarck Foundation, Paris
1993-1994 Pan European FLEXIBLE Art: Germany, Holland, England, Poland.
1993 White Form: Turnpike Gallery, Lancashire
1992-1994 Crafts in Performance: Crafts Council Gallery, London & Touring
1989 A.D. Graduate Exhibition: Aram Design Studio’s, London
2011 Sculpture: Clifford Chance offices. Washington DC
2011 Sculpture: 'Till Rolls' Towner Contemporary, Eastbourne
(2002-03) Sculpture: Chevron Texaco. Aberdeen
1999 Sculpture: Private collection, Chelsea, London
1998 Short-listed: Sculpture, Rotherham General Hospital
1997 Short-listed: Sculpture, Roles Royce Headquarters, Crew
1996 Short-listed: Sculpture, KPMG Headquarters, City of London
1996 Sculpture: Wollaton Hall, Nottingham
1990 Sculpture: Albion Wharf Building, Central Manchester
1988 Textile Hanging: Manchester Metropolitan University
1987 Wall Panel: St Mary’s Hospital Manchester
1996-1997 Art Consultant for Nottingham Natural History Museum
1992 Collaboration with Performance artists, Nottingham
1991-1992 Three Plank Rule: Collaboration & Performance with Risk Dance.
2018 - 2020 Artist Expert to the EU Commission
2009 - date Senior Lecturer in Contemporary Arts, University of Huddersfield.
2006 - 2009 Lecturer, Winchester School of Art, Southampton University.
2013 International Press Award: 7th Arte Laguna Prize, Venice Arsenal, Italy
The notion that something small such as: an object, an action or even the intangible (idea, number, concept) when repeated can form patterns, tessellating into complex structures or osculate into chaos is immensely exciting. The relationship between logic/system and material/organic reality is so significant and yet illusive, it has both the power to be generative and obliterate all at the same time. This has to challenge our very relationship with knowledge systems, repetition and ultimately our perceptions of ‘reality’.
My work is often large in scale, though the process applied to its construction is generally of a ‘hand-held’ dimension, and always repetitive, a repetition manifest in the labour of production.
I find that the purpose of the repeated action is more complex than a means to an end. It is not just a pre-requisite to forming a critical mass or achieving a particular form. The act of repeating is capable of questioning wider cultural concerns, such as: time and temporality, the concept of the moment, failure, boredom, erasure, the recycled object, ecology and authorship.
In order to explore further into the act of repeating, I have been drawn towards materials that offer a multiplicity, or act in a singular way when an action is applied to them and then repeated. Materials such as, till rolls and plastic spoons, have characteristics that can indicate repetitive actions, actions that are often considered unskilled such as looping, tying or scribbling.
There are no hierarchies; each repetition is as important as the last, and as futile as the next. Each repetition offers equal support to the greater whole, and yet each repetition is different, formed within a singular moment, forming a community of things that operate within a larger structure. In this way, each repetition offers value towards a greater intent.