So where is this going? Again I am writing here more as a diary entry than anything else. Something to keep tabs on what work I’m doing and how. Seeing if this falls into a pattern I’m happy with. The re-assessment of the work I’m doing needs to be a continual process, but now is more urgent than ever.

However, work done recently. And as is often the case work is driven by the need to produce work for the ur:project. So we can deal with that first. Unusually I wasn’t going to be working with Gabrielle, so my hark back to past works was beautifully timed with her need to be somewhere else. It was fairly quickly I dove into this idea, we had ‘Purple’ as a theme and I couldn’t resist the children’s paints. One of my favourite pieces has always been ‘Colour Metamorphosis‘, this and a love of Bruce Nauman ‘Art Make-Up‘ and I knew where to go straight away. I don’t want to pontificate about what the act of painting oneself brings to the work, the fact it’s children’s paint, the colours involved being red and blue etc. These always need to be for the viewer really. However that eternal fight between red and blue in the world taking place literally on top of yourself is something I can’t ignore, this is a fight many of us feel, also the fact that red and blue should of course become purple. But, we get that mushy colour you used to get in childhood when you mixed too many different paint colours. I wonder if I should have mixed the paint more vigorously with my hands, but I think I was still tied to part of my thought process where I’d have mixed only certain areas. That mixing of certain areas had given way to mixing, but choosing a place to stop where you might be able to just see where the original colours had been but then how they had transformed into this darker mush. So, yes happy with this piece, happy with how the performance felt, happy I filmed it and didn’t go for a performance on the night.

I’ve included here a ‘Red and Blue’ I found during my research. I really kind of like this, and it is probably where my half and half approach to the distribution of the paint came from. This battle between two perfectly similar halves that goes back and forth but nowhere really.

My ‘other’ piece was more a fun nod to someone else’s work that few would have probably even noticed. A northern, maybe even Mancunian, purple twist on ‘Monochrome Till Receipt‘ (White) by Ceal Floyer. It’d be great if I lived nearer to Islington Mill, to see how the receipt deteriorates, to see if it turns purple as so many receipts do when exposed to light for a long time. Perhaps I should re-buy the Vimto and film the receipts decay. Anyway, the name I had in mind for this was…’All The Wretch, Without The Vomit‘. I think that fitted nicely.


Whilst thinking Purple I’d searched my back cat of pics to see what purple I’d done in the past, no cigarette ads for Silk Cut I’m afraid, in fact nothing much purple. But I did come access a picture I wanted to rework.

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Quite why I wanted to work on this again I don’t know, quite which one is right I don’t know, but maybe it can bring back some of my love for photography?! For now though I need to title it !

As for my death mask mentioned previously, well I’ll not list out my thinking on this but I need to make a test piece of plaster work for an idea of how to progress it. Hopefully i have the idea sorted now, all my thought process’ sorted into the finest detail. Just need my workmanship to be right for it, and that’s the difficult part!


It’s not often now that I truly miss the world of photography, become inspired by a photographers work, or even have much of a passing interest. However  Paul Schneggenburger and his work ‘the sleep of the beloved‘ has certainly caught my eye. A much used subject now with sleeping films of Beckham to candid pictures taken with the subelty of a slap from your favourite 80’s diva. So these soft delicate studies of how couples perform together are a treat to the eye. It appears they’ve been done, as all good work is, ever so simply.

Out of respect i’ve not stolen the pictures for my blog, just follow the links…

Paul Schneggenburger – ‘the sleep of the beloved’

Paul Schneggenburger – ‘the sleep of the beloved’

However, make of them what you will. Personally I’d be volunteering as soon as possible, if he was at least in the same country. Such a shame. (For me not him)

Well it’s difficult, isn’t it always? Well whilst I have image files from ur:white night uploading to my dropbox, Facebook not taking all the images I wanted to upload so waiting to get them back under-way, Fickr though has them all, film work of ‘Bodies Pressured‘ finally edited together and rendering (once which I will have to export and upload to show Bruce Nauman (it is only polite)), in the middle of creating twitter Doctor Invasive which I’m not sure what to do with, writing press release for ur:purple, inviting more artists , I’ve a logo to look at, wedding pictures to do of course, oh and I’m sure other “stuff”. So the point? The point is ‘In Spite of Myself’ or is it ‘Inspite of Myself‘, maybe ‘In spite of oneself’ I’m even considering ‘Despite Myself’ or ‘Despite‘. It is of course helping just writing these down, it always does. I’m reworking the paint of course, the left hand side as you look at it I’m happy with, the right not so. For obvious reasons I guess, in that the cloud formation makes to much of a shape, but also for there being too much blue, and this is not just at the fault of the right. Whilst the connotations to the feeling ‘blue’ are good, blue skies are just downright too positive to be in something like this. I do need it to be calm though, so no stormy skies, the spite needs to applied to a serene figure, that I believe is where the power is. Anyway, work in progress……..

IMG_1597 IMG_1596 IMG_1595Ha, ‘Bodies Pressured‘ came out at just under 30gig, I’d not really looked at its length before, it’s 45 mins so a re-export in progress. back to that press release…….

I know this one well. The flowery language to describe the bland, to cover up the art of banality with words that conjure up visions of ecstasy. This is something I mentioned in my final submission for my Visual Art Degree, I refused to write the usual Artists Statement. The one where you talk about confronting the zeitgeist with banality of the bourgeois beast that lie within us. The one where your ability to write this crap far outweighs your actual art. We see it everywhere, whether from burgeoning new artists or from the gallery elite, and no one is doing anything about it. Hopefully this Guardian article might start to wake up somebody,, by . (You should read this now, and this

I knew plenty within our course at university that would portray an outwardly artistic glow, ones who you thought were ‘Of The People’ and “By The People’. The ones who you’d expect to be principled about such alienation, but no, they play this sick sad game. They use their education to push their mediochre (sic) art along. During those last few weeks of my degree course I read many of these ‘Statements’, my flabber aghast at the horrors that had been created. I also read those that struggled to compete with these fine words, their art no less worthy…..But, and you know it’s a big but, but you know who will get the funding, you know who will get the chance at a show, the opportunities. And how do we know this? Well how many artists with a learning disability are represented within our art world? How many just plain old people who don’t use these terms? Ones that have not passed through the bowels of a university art school? (Although yes even those that have avoided that dim dark place still offend, perhaps even more so as they struggle to be accepted) You just don’t get them, you’ve more chance of finding a gay footballer in one of the English football leagues than an artist with a show in a well regarded gallery.

Anyway, what would I know? I went from being a previous “A” student to being a ‘C’ student for that final module. That’s how much I know!

So what should you do? What should I do? Speak and write plain English. Talk about our art openly and honestly. Stop using words you know will just confound people. Sometimes I feel the art world feels much maligned, a victim, “why don’t people understand us?” they say. Why do they mock? Art & Culture matter, it is the Mona Lisa the world celebrates and remembers. Not the trader that commissioned it. We are in danger in these new times of a new realism of becoming detached from society, being those “arty wankers” over there. In fact are we not already there?

Which reminds me……………..

“Doucement, ne les derangez pas
Ilya des gens qui vive comme ca
Les artistes de demain
En desespoir agréable”

Excuse my French.


My work explores the relationship between the universality of myth and unwanted gifts.

With influences as diverse as Machiavelli and Buckminster Fuller, new variations are manufactured from both simple and complex structures.

Ever since I was a postgraduate I have been fascinated by the theoretical limits of the zeitgeist. What starts out as triumph soon becomes debased into a carnival of greed, leaving only a sense of decadence and the inevitability of a new synthesis.

As wavering derivatives become clarified through emergent and personal practice, the viewer is left with a new agenda of the corners of our culture.

Thank you

Firstly, when will the tax office get off their phone?! It’s been engaged now for an inordinate amount of time. This is like when my Mother takes the phone off the hook as she doesn’t want me inviting myself around!

Secondly; just what do people with Alzheimer’s want to colour in, and just how detailed? I’d never considered this before, even though I knew about the therapeutic nature of the creative process and this simple task. to see more about this, or

Thirdly; I forget thirdly. Perhaps that is to do with me writing more lists, I need to do that a lot more!!

Maybe very telling just how old those works are and how unhappy I’ve been with my recent output. I can’t quite put a finger on what it is about these two pieces that I don’t get from newer work, work which after all should be more complex and refined.

Father; maybe I should be doing more works reflecting my relationship with my Father? was this the driving force that pushed this work forward? That made it resonate? Was it the mixing of the different aspects of art that so works for me? I’m afraid I seem to have more questions than I do answers. I’ve even trawled through the “likes” and comments of Tumblr to see if something jumped out, but nothing really. Father may yet remain and enigma  oh the irony. It is irony isn’t it? Or is it just misfortune?!

The Other piece; Manchester A Personal Space, so to do more work about Isolation  I should after all have my Platform work on here as it most closely reflects that. In fact, something I’ll do now!