'UVB-76' is a thin, electrostatic speaker with a vibrant printed surface of red circles
with thin, light blue borders. The pattern is based on a design for radio speaker baffles.
The speaker emits highly directional sound and its orientation can be 'fine-tuned' by
hinges that attach it to the wall. The sound is drawn from short-wave radio transmissions
including a soviet signal called UVB-76 or 'The Buzzer'.
Ground Control, 2010 (installed at Netwerk Center, belgium) Car, fluorescent paint, LF soundtrack, bass speakers and UV Black light (dimensions variable)
St Simeon's Drum Riser, 2012
click images below to enlarge St Simeon's Drum Riser, 2012 Wooden pallets, platform, percussion instruments, cctv system 450 x 100 x 120cm
St Simeon's Drum Riser is tower of wooden pallets with a cramped performance space on top. A live cctv link relays an image of the small, impossibly high performance space to a monitor. During The Voyeur exhibition, the artist undertook 3 improvised performances on this platform, activating the installation using a variety of percussion instruments - See video of performance here (11 mins)
St Simeon of Stylites was a 5th century Christian ascetic who reputedly lived on top of a tall column for 37 years in what is now Aleppo in Syria. His motivation was questioned by the church at the time, but it turned out he was more likely in search of isolation, rather than implying that he was above anyone else. By exaggeration, St Simeon's Drum Riser questions the hierarchical relationship between audience and performer.
Pallets, performance space with instruments and live cctv feed (dimensions variable)
Enochian Sound Reflectors, 2012
Enochian Sound Reflectors, 2012 (click images to enlarge) Each panel 59 x 55 x 10cm
Acoustic reflectors are used in the recording industry, concert halls and other architectural
settings to diffuse sound. Rather than absorb sound, they break up reflections using complex,
three-dimensional surfaces. These 4 panels are made of a hard gypsum and acrylic resin and
their design is based the Enochian tablets of Elizabethan alchemist, Dr John Dee.
Using an algorithm of numeric equivalents, Dr Dee's Enochian alphabet was translated into
cubic blocks between 1 and 9cm high. Each panel has a different configutration and the work
explores modernist notions of functionality alongside more historic and esoteric references such
as Kurt Schwitter's Merzbau and alchemical process.
This work is dedicated to the late American composer Jerry Hunt.
Enochian Sound Reflectors, 2012
Four cast acrylic relief panels (122 x 114 x 10cm)
Shaking Cabinet, 2012
Shaking Cabinet uses a powerful bass speaker whose sound is tuned to trigger the resonant
frequencies of a steel cupboard and its contents. The low frequency soundtrack periodically
causes the cabinet to shake, rattle and bang, catching the unsuspecting viewer off-guard.
Shaking Cabinet, 2012
Steel cupboard, bass speaker, amplifier and soundtrack. 180 x 91 x 40 cm
Next Door, 1991
Drinking glass, speaker, jack lead, cotton wool and soundtrack 8 x 8 x 12cm
Next Door, 1991 - video with sound (1 min excerpt)
The Voyeur, 2012
Video documentation of The Voyeur (5 min - with sound)
The Voyeur was first exhibited at De La Warr Pavilion in 2012
See page dedicated toThe Voyeur here
The video is a tour around the exhibition The Voyeur, which combined sculpture,
photography and seemingly familiar objects with the technology of sound.
The installation operated as a kind of sound system and the audience orientated
themselves through both sculptural and sonic cues. In much of the work, parallels
were drawn between the forms and ideas of modernity and more historical ideas,
which nevertheless seem to anticipate the modern era.
During the course of the exhibition the artist made three performances on top of
the 4.5m tall St Simeon's Drum Riser (made of stacked pallets), whilst CCTV
relayed a live, bird's eye view of the performer down to ground level.
Music in Trees, 2004
Music in Trees, 2004. Unwound cassette tape (dimensions variable)
The recorded works of the Triffids and David McComb on cassette tape, unwound and tangled
in a lonely tree.
Exhibited in the exhibition: A Temporary Monument to David McComb at STUK Leuven, Belgium.
See also Drawing: Triffid Court
Detail of Music in Trees, 2004
Approximately 400m of cassette tape was unwound and tangled in a tree. The tape rustled
and glistened in the wind and a single line of the tape trailed upwards and through a second
floor window of STUK into a cassette on a window ledge inside the gallery.
L'Age d'Autoroute, 1993
L'Age d'Autoroute, 1993 (16 x 38 x 27cm) Retro-reflective film on aluminium, plywood box
The 4 reflective signs (London, Dover, Calais, Amsterdam), were used to hitch-hike from
Amsterdam to London and back.
Set of two photographs accompanying L'Age d'Autoroute, 1993
45 x 30cm, each
NOISES, 2013 6 unique sculptures with engraved signs
Above: Noises #1, 2013 (64 x 12 x 4.5 cm)
The order of signs can be altered to suit various imagined narratives.
Work
may sit on a surface or be wall mounted.
Each of the 6 versions is unique - see right for index.
WHOOSH (work for lift shaft), 2013
Click image below for slideshow
WHOOSH, 2013
Permanent installation in the lift-shaft of Hotel El Ganzo, Puerto Los Cabos, Mexico Fluorescent ink screenprint on aluminium panels. 110 x 110cm (5 pieces)
Set of hand painted signs based on Fishermen's boat names from Puerto Los Cabos, placed at
various locations around Hotel El Ganzo. Dimensions variable.
La Ingrata 2013. Hotel El Ganzo, Puerto Los Cabos
HIJKLMNO 1991
HIJKLMNO, 1991 - installation for the exhibition SAFE
White tiled cubic structures with canal water and plastic sheeting
Dimensions variable
click images to enlarge Book Pyre, 2011
Books, wooden pallets, kindling and paper.
2100 x 2100 x 1100mm
Installation shots of Book Pyre at Southard Reid, 2011
Death Star 2008
Death Star, 2008
Carved polystyrene mirror ball, chain, motor, light and optional acoustic foam.
50cm diameter mirror ball, installation dimensions variable.
See also:Ghost Drummer
The 50cm diameter black ball slowly rotates, revealing a glinting smile.
Test Card (intermissions #1 & #2), 2015(with Prinzhorn Dance School)
click on images to enlarge
Test Card (intermission #1 + #2), 2015
29 x 21cm mounted c-type photographs, scientific clamps.
The images on the test cards are of empty rooms with their windows cut out. The Test Cards are mounted on stands and positioned directly in front of video cameras to fill the frame of view. On a live video-feed, the room behind and any people in it are glimpsed through the appertures of the window frames.
The freshly decorated rooms in the photographs suggest estate agent's promotional material or the completion of a hard day's work (a few cans of beer are visble in the otherwise empty rooms). The art work celebrates primitive cinematic illusions and disrupt the intended subject.
The work was first shown at Dear Serge in St Leanards on Sea for an off-site project with De La Warr Pavillion. The video was live-streamed to a local cinema and on the De La Warr Pavilion's and DFA Records' websites. A number of performances took place in the space, icluding one by the Prinzhorn Dance School.
Test Card (intermission #1), 2015
C-type photograph mounted on card (29 x 21cm) and scientific clamp
Nature / Culture, 1997
Drummer Shoots Band Mates, 1996
Nature / Culture, 1997
Plastic bin, plastic bottles, flourescent paint, water and sheepskin rug
Dimensions: 70 x 55 x 80cm
Goodbye, 1996
Mobile lightbox - positioned just inside the entrance to an exhbiition
Aluminium, perspex, light. Dimensions: 90 x 90 x 60cm
The Death of Cinema (works for film projection booths), 1990
The Death of Cinema, 1990 - click on images to enlarge
These works utilise various existing appertures (portholes) of film projection booths
The Death of Cinema, 1990
Perspex, wood, paint and lighting. Dimensions variable
Building Site, 1999
Building Site, 1999
The sculpture houses multiple, interior stereo views of the building under construction See also stereo viewer sculptures
Building Site, 1999.
Scale model of the New Art Gallery, Walsall under construction, with stereo viewers
MDF,
stereo photo-viewers, 35mm transparencies, fluoprescent light and stand.
(160 x 100 x 80cm). More information here
Room in Hell, 1998
Room in Hell, 1998 (one of the interior stereo views)
Immediately upon completion of filming for the 3D film 'No Room in Hell, 1997', the gallery
was documented from all angles using stereo photography.
Room in Hell, 1998 Scale model of Matt's Gallery with steroscopic viewers.
MDF, paint, stereo viewers, transparencies, light, steel stand with wheels (100 x 110 x 100cm) More information here
Cast acrylic resin and silk cloth (7.9 x 11 x 13.5 cm)
Paper drawing of 'Cast of an empty box for the iphone 3GS', 2013
BetweenTterror and Relief 1989
Between Terror and Relief, 1989
Relief letters and paint on french-polished wooden panel (52 x 30cm).
Between Terror and Relief, 1989
Advertisment hoardings on electricity substation, Peckham, London.
* The above posters were seen some weeks after the work at left was made.
Isolation 1990
Isolation I & II, 1990
Cast concrete blocks, lead disks, copper bar, telephone, cassette player and headphones.
Each concrete block approximately 40 x 40 x 40cm
What is dark, but made of light? 1990
Sprung Instrument 1987
What is dark, but made of light? 1990
Wood, lights, electricity, steel, soot,
copper wire (dimensions variable)
Sprung Instrument, 1987
Steel spring, wooden resonating box and paint
(60 x 20 x 30cm)
