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Project Info

2017 - 2018 Further information on artworks

Ship of The Gods
Inspired by the Norse story of Skidbladnir, a magical shape-shifting ship, Ship of the Gods combines film, 3D laser scanning technology, sound and lighting effects to create an ethereal projection experience. Commissioned by Absolutely Cultured for the Urban Legends: Northern Lights event.  29 November - 2 December 2018. 

2018 In Other Words
Video installation created for Aspex Gallery Learning Space, Portsmouth.
Commissioned by Havant & South Downs College. 18 October-25 November 2018.

2018 The Ripple Effect
Trust New Art Commission for Lacock National Trust. 8 September-18 November 2018.

2018  Iron Curtain. Set in Stone
Work created for the m2(at)15 exhibition. APT Gallery, London 10-27 May 2018.

2017 Floe
Large scale projection event commissioned for Hull UK City of Culture 2017 as part of Look Up - a programme of temporary public realm commissions curated by Hazel Colquhoun and Andrew Knight Developed in response to the architecture and history of The Deep. Shown for three night: 8 - 10 December 2017. 

2017 Set in Stone
Site specific artwork created for the m2 Gallery, Quay House, London. Exhibited 16 Septmber - 19 November 2017.

2017 Front Row
Site specific installation created in response to heritage of The Chester Rows. Shown at Booth Mansions, Watergate Street, Chester. Commissioned by Chester Civic Trust and Cheshire West and Chester for Open Heritage Days. 

2017 Watermark
Integrated glass and light artwork for Lombard Road Wharf, London. Community engagement project with Falconbrook Primary School, Wandsworth. Commissioned by Barratt London.  

2017 Interchange
Film commissioned by the Aspex for the new Hard Interchange, Portsmouth. Participatory prject with St George's Beneficial Church of England hosted by the Aspex Gallery. Supported by Portsmouth City Council. 

2017 Colourvision
Integrated light installations created specifically for the new Camulous Academy, Colchester.  Commissioned by Essex County Council.


Ship of The Gods
Video, sound and light installation created for Hull Minster, Kingston upon Hull
Commissioned by Absolutely Cultured for Urban Legends: Northern Lights
29 November - 2 December 2018

Ship of the Gods is inspired by the Norse myth of Skidbladnir, a magical shape-shifting vessel which was large enough to carry all the gods and their equipment yet could be folded up small enough to fit inside a pocket.  We connected this story with the landscapes of Norway and Hull's maritime history, reimagining Skidbladnir through the forms of the Arctic Corsair, the Spurn Lightship and models found within Hull Maritime Museum and Hull and East Riding Museum.

Using film, 3D laser scanning technology, sound and lighting effects, the ghostly, ephemeral Ship of the Gods sailed through the majestic space of Hull Minster.

Ship of the Gods was supported by the Hull: Yorkshire's Maritime City, Hull City Council, Heritage Lottery Fund, Hull Culture and Leisure Ltd, Humber Museums Partnership and Arts Council England.
Landscape sequences created using open data provided by the Norwegian Mapping Authority, ©Kartverket,
Original 3D Lidar scans undertaken by CT Surveys and Laser Scanning UK Ltd.

to original video and soundtrack.
Link to video showing whole video installation inside the interior of Hull Minster. 
The video below shows the whole video installation both inside and outside Hull Minster.





In Other Words
Video installation created for Aspex Gallery, Portsmouth
Commissioned by Havant & South Downs College. 18 October-25 November 2018

In Other Words is a new video installation which explores the nature of language, social interaction and identity. Seeing and experiencing yourself as another person is at the heart of this installation. It has been developed in response to the research undertaken by the students at Havant and South Downs College which looks at the origins of the Portsmouth accent and dialect.

The video brings together observations about Portsmouth and the Pompey accent with voice recordings from the Portsmouth Oral History Collection which have been lip synched by students and local residents to give a new face and expression to the words.

Dialect and accent can place a person in a particular area and time, but can also give clues to their life's path and influences. Research has shown that our brains have an inbuilt urge to empathise and affiliate with those around us, which means we often subconsciously mirror the speech patterns and accents of people we are with.

The installation takes the idea of a photo booth and subverts it to create a space where the viewer can experience the film through a half silvered mirror, so their own reflection merges and maps with the face on the screen behind.

The sound can be experienced via headphones provided in the space.
Video duration: 00:11:16


With thanks to the Portsmouth Library and Archive Service, Portsmouth City Council for their assistance in the development of this work and to the participants of this film: Joel Davies, Anna Merel, Rosie Newton, Sobizha Nishiyama, Robbie Piper, Natasha Samuels, Kev Smith, Abbie Spratt, Melanie Sutton, Ashleigh Rose-Gillard, Lisa Gillard.


The Ripple Effect
White silk, duct fans, LED lighting and soundscape via headphones.
Chaplains' Room, the Cloisters at Lacock Abbey National Trust.
A Trust New Art Commission.  8 September - 18 November 2018



The Ripple Effect
is a new installation created for The Chaplains' Room at Lacock Abbey, inspired by the architecture of the medieval cloisters and its legacy as a place for contemplation. It is the first of three projects which explore the theme of peace and its ambiguities and what this can mean from a contemporary perspective within the context of Lacock. The installation coincides with the centenary of Armistice Day.

The Ripple Effect
on one level describes the qualities of the installation, but also alludes to the idea that any action is interconnected and can have a far reaching effect.

We have created a floor of white silk which has been cut and sewn to fit around the central stone pillar and main area of the Chaplains' Room. A series of fans set around the edge of the installation cause waves to ripple through the whole of the silk floor like a single body of water. The breeze filtering through from the outside and the moisture and circulation of air within the confines of the room all cause variations in the flow and movement of the silk.

The edge of the installation cuts diagonally across the room from the entrance to the far corner leaving a narrow section of the floor uncovered so visitors can view and become immersed in the artwork.

Silk has been chosen for its material qualities, but also for its associations with Armistice and its use in times of conflict and peace during and after the two World Wars. Armistice Silk - a refinished silk made from the 18 million yards of surplus silk cartridge cloth at the end of World War 1 and the silk military parachutes, were both used to make clothes during and after the war.

The space is illuminated by both natural and coloured LED light and the mood of the space will change continually throughout the day and months. The shift through the spectrum of colours reflects the diverse qualities of light found around Lacock, from the natural golden glow of the afternoon sun on the stonework to the more staged artificial lighting effects used in the Cloisters' film sets.

A soundscape can be heard through headphones set up in the space to create a solitary context for experiencing the work cut off from the ambient sounds in the room. This has been composed from sounds recorded around Lacock during the last few months and layered to gradually build up then fall away quickly to induce a sense of silence. 

Further information on the project can be found on our blog.
Below is a short film about the Ripple Effect.



 Iron Curtain, Set in Stone
Velvet, corrugated iron, leather bound book, limestone, half silvered mirrors, LED lighting and gold mylar emergency blankets.

m2(at)15, APT Gallery, London 10-27 May 2018


Iron Curtain, Set in Stone is part of an ongoing series of new works which explore our fascination with ambiguities of material, perception and meaning, at a time of populism and alternative factsIron Curtain, Set in Stone redefine evocative idioms by employing the illusory theatrical technique of Pepper's Ghost to fuse impossible and incompatible combinations of objects together into virtual, three dimensional constructions.

Iron Curtain: An ideological and physical barrier separating the former Soviet bloc and the West prior to the decline of communism that followed the political events in Eastern Europe in 1989.

A metallic safety curtain used in theatres to prevent fires from spreading.

Set in Stone: To be difficult or impossible to change.


A large scale projection and soundscape event for The Deep, Hull
Commissioned for Hull UK City of Culture 2017
8 - 10 December 2017

Further info here

Set in Stone

Installation created for m2 Gallery, 2c King's Grove, London
Media: Digital print, leather bound book, limestone, velvet, half silvered mirror and LED lights
16th September - 19th November 2017

"Set in Stone: To be very difficult or impossible to change." (Cambridge Dictionary)

Set in Stone is part of an ongoing series of new works which continues our fascination with ambiguities of material, perception and meaning, at a time of populism and alternative facts. Set in Stone redefines this evocative idiom by employing the illusory theatrical technique of Pepper's Ghost to fuse impossible and incompatible combinations of objects together into a virtual, three dimensional constructions.

Set in Stone could be viewed through a peep hole cut out of an image of a stone set up in the M2 Gallery window.

Front Row

Window installation at Booth Mansion, The Rows, 30 Watergate Street, Chester
Commissioned by Chester Civic Trust and Cheshire West and Chester for Open Heritage Days
7 - 10th September 2017

Front Row has been developed in response to some of the stories and architectural features of the Chester Rows and has been made for the window space of Booth Mansion.

The Chester Rows date back to medieval times and although their precise origins are unknown the layout follows a similar pattern to that of the Roman legionary fortress. Their significance and archaeological merit lies in the historical overlays and changes of use that followed on through the Tudor, Georgian and Victorian periods to the present day.

Over the years the Rows have changed or adapted either through accident or by design. Each architectural feature reflects a fashion, function or story of the past resulting in a rich tapestry of building styles. The Rows today are living, working, spaces and continue to evolve and develop in response to their usage and activity.

Front Row is an artistic response to the fragmentary and multi layered nature of the Rows and the potential of these unique spaces to transform. It has been developed from film footage and photographs taken of the Rows, which has been edited and layered to create a constantly changing view of these unique spaces. The video forms the back of a mirrored chamber to create a kaleidoscopic vista of the projections and bring symmetry to the myriad of fragments. Front Row is looped to run continuously throughout the day.


Digital ceramic print on glass, RGB LED Lighting
Lombard Wharf, Wandsworth, London
Commissioned by Barratt London

Watermark imagines the course of a fictional river which has carved its way through the contours of Lombard Wharf compressing the curved layers that make up the 28 storeys of the tower. It has been inspired by the architecture of the building, but also the hidden and lost rivers of London such as the Falconbrook which flowed nearby and whose presence is reflected in some of the local street names and establishments.

The contours eroded by this fictional river have taken their form from the meandering curves of the River Thames mapped from its source to mouth. The map was divided into sections which we traced, then overlaid on top of one another. Between each of these a further set of contours were generated to create the undulating surface of Watermark.

Watermark was digitally printed with ceramic inks onto double glazed panels and is installed along a ground floor section of Lombard Wharf. Colour changing LEDs illuminate the glass from behind to change the mood and appearance from day to night.

Watermark was designed to engage with the pedestrian on different levels. Subtle references to the area's past can be discovered amongst the contours of Watermark's illusory space. Lavender (a crop once grown in this area), a falcon and the lattice of iron work from Cremorne Bridge all cast their shadows across the undulating surface of Watermark. The Thames was once described by John Burns (1929) as liquid history and traces of its influence continue to flow through the fabric of the city and its myriad of stories.

A community engagement project with local Falconbrook Primary School informed our research and development of the artwork.



Commissioned by Aspex
Supported by Portsmouth City Council
On display at The Hard Interchange throughout the summer

Interchange is a film created in response to the recent developments at the Hard Transport Interchange in Portsea.

In 2017 we worked with pupils from St George's Beneficial Church of England Primary School, Portsmouth - After School Club. Over a seven week period we led a series of workshops at the Aspex Gallery exploring the transformation and interchange of spaces. The group created their own camera obscura boxes filled with imaginary model buildings and cityscapes inspired by the architectural landscape of Portsea. Projection mapping techniques were used to create interchangeable scenes and spaces using video footage and photography of urban and natural environments.

Inspired by the children's creations, we have made this film which combines and projects their own video footage taken from around The Hard and Portsea with the children's own models. Interchange is a culmination of these journeys that span real and imaginary worlds.