Fed Square 1 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2019
Koch fountain Met Manhattan 1 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2 2017
Koch fountain Met Manhattan 2 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2 2017
Chase Fountain Manhattan 1 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2017
Chase Fountain Manhattan 2 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2017
Ford Motor Works North Facade 2 (Nope) 2 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2019
Ford Motor Works North Facade 1 Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2016
Ford Motor Works South Facade Pen and ink, charcoal pencil, watercolour, gouache, pastel, pit pen, airbrush on photocopy on paper 2016
Sketchbook 3 from box set of 4, edition of 150 open page 2019
C hearing the words of G photocopy book edition on paper 2019
The three versions of this one-off artists book use a roughly translated and partially erased text detailing the murder of St Cecile, patroness of sound art who, like Paul Scheerbart’, worked with the unknown, seemingly basing her visionary actions on moment by moment insights of potential and intent.
Technology is never neutral. Intent and potential can be read into research even in the face of probable failure, just as intent and potential can be read into all constructions, be they algorithmic code or buildings along a street. This display celebrates the unforeseen by-product which becomes more important than the expected outcome.
