I'm at this inverse eve or I'm, 2014
-Performance lecture, Q&A session and sculpture.
Missing You Already! 2021
Anteriors 2, 2021
An Introduction to Laughter Yoga, 2017 onwards
Radical Essex / #aNaturistClubInEssex, 2016 onwards
Sauna Reading Group, 2016 onwards
Activity (& Inactivity) Sheet, 2017
That's As Maybe, 2016
Various Brackets, 2008-18
A Sculpture I Once Saw... 2010-
"It must be told" (Again), 2014
I'm At This Inverse Eve Or I'm, 2014
A Hermit's Movie IV: In Trees, 2011
Late at Tate (I am not him and I do not have your pen), 2011
Mirrors from Somewhere Else, 2011 onwards
Portrait Session (Borrowed Instruments I Cannot Play), 2010
Impersonating a Part-time PCSO, 2007-10
The Least Most (The Most Least?), 2009
(Lecture photographs, Madé Spencer-Castle, courtesy Kings Artist Run)
At the invitation of Kings Artist Run, Melbourne, Australia - whilst there on a research trip - I presented
a new version of my 'Hermit Movie Rethink' performance lecture alongside a new ad-hoc sculpture in the adjacent room.
'Hermit Movie Rethink' is itself an adaptation my performance lecture 'A Hermit's Movie IV: In Trees' originally written about, and delivered in, the small 30 seat, concrete-domed planetarium in the University
of Plymouth, UK.
'Hermit Movie Rethink' instead uses the available architecture as presentation surface, and standard Office computer packages instead of the planetarium's processing power - becoming a purposesfully distorted interpretation of the original lecture, itself all about distortion, perception and reimagining.
As part of this research trip to the other side of the world it seemed fitting to reattempt a work that is built around the study of the planet's movements, also purposefully scheduling it three days after arriving so still heavily influenced by jetlag.
'Jetlag Sculpture', 2014
To accompany the event I presented a new improvised sculpture in the adjacent room, made over the previous few days. It was overtly shaped by a series of dominant influences: the themes of the talk, available materials, new location, urgency of the deadline, and crucially the disorientation from the epic journey with the associated effect on my sleep patterns and critical faculties.
Jetlag Sculpture' is comprised of two Australian pint glasses (15 fl. oz, compared to the UK 20 fl.oz), each half-filled with a strong liqueur (Blue Curacao and Creme de Fraise), each also containing an identical variety of objects purchased at a local builders merchants (picked as tactile items whose exact function I couldn't determine). This was set on a shelf of scrap wood found in the gallery, and attached to the wall using what are known as 'London brackets' that I had brought all the way with me.