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The British Art Show list of 40 artists was announced on social media yesterday, many ex-students, friends and colleagues are included and also many I do not know. Perhaps it is often difficult for artists who can not make the grade for various reasons, it begs the question 'how have I failed to be relevant' but things are possibly more contingent on social connections than one might expect? But I am looking forward to seeing the works in Plymouth where my family live/come from. It will be in the newly converted buildings which I previously worked in as a library assistant.


My mind is a ball on a roulette wheel this morning, bouncing across the quadrants, subjects arising, questions... Such as, is it ok to address the circassian beauties (created by PT Barnum) as embodying a commodification of both women and enslavement?

I wonder ... is my own critique of this clear enough?  This is on my mind because I am awaiting a profile to be published in Elephant on my work and for my profile picture I am performing a hybrid PT Barnum circassian beauty (commodifying the image of myself more explicitly for the context of a magazine).


There are four things  fluttering in my head this morning, 

on my mind today

I awoke in the night having watched the 4 chapters of 2052 selves films I made for Knole in 2018. Whilst filming I had an interest in the representations of POC in the house and I drew attention to them in the film as a reminder of colonialism. The novel Orlando, which uses Knole as a backdrop, opens with a barbaric and violent reminder of colonial aggression. But watching the films yesterday I didn't feel that I had been clear enough on my position on this - as utterly against it.

on my mind today

Today's concerns.

what I have been thinking/describing my work


A line between the physical world as a cause in itself (causa sui) and the mind (which responds as an impulsive continuous narrator) drives me towards a desire to discard a written text that becomes necessary to make an artwork comprehensible - a codex for a cipher, often found in a booklet or inscribed in vinyl on a wall, shaping how one 'should' think of an artwork.

Rugby Open Call

Thoughts on Form

Content seems to govern artworks currently, mostly on socio-political or identity driven narratives. Exhibitions are framed around meaningful contemporary content. The forms these subjects are represented through, however, tend to fall back onto standard formats.

The aesthetics of installations and audio visual displays are often familiar and default.

Smart Phone and Identity

I have been thinking about the smart phone and its troubled relationship to the tricky subject of identity. There is no doubt of the device's prosthetic quality - of how it insinuates its way into one's procedural memory, steps in where our semantic memory fails and is a storage zone for our episodic memory. Lose the device and bits of life vanish. To drop it, forget it or have it stolen can physically hurt.