Art Projects

Text-based art projects.

Microhabitable, Matadero Madrid with INLAND and Serpentine Galleries, London, 2019. I am one of three artists in residence at Matadero Madrid for the project. Microhabitable is a seminar programme considering the theme of scale in art projects in relation to social and ecological change. A study group of participants are attending seminars with speakers, Jose Manuel Naredo, Stephen Wright, Sven Luttiken, and Marisol de la Cadena. The group are working with the artists in residence to produce podcasts.

‘Ink Tourette’s’, part of ‘Writing the Future‘ in the Continuum project, Allenheads Contemporary Arts, Northumberland, 2019. Working with Rob La Frenais, I ran future fiction writing workshops with local writers in the Hexham Book Festival and at Allenheads. We installed our texts and stories by the workshop participants around Allenheads village for the midsummer exhibition. My story, ‘Ink Tourette’s’, is part of a series of fiction writing that explores the slime body technologies of aquatic flora and fauna in relation to human body ‘technologies’.

Frontiers in Retreat, 2014-2018, was a five-year art and ecology research project led by HIAP, Helsinki. I undertook residencies with HIAP (Finland), Jutempus (Lithuania) and Centre d’Art i Natura, Farrera (Catalonia). I ran workshops for adults and children, published future fiction and workshop books series, The Water Age, and co-edited The Midden, with curator Jenni Nurmenniemi.

Zooetics‘ was part of Frontiers in Retreat, 2014-2018, and was a collaboration between Jutempus (Nomeda & Gediminas Urbonas), myself, and Viktorija Siaulyte. ‘Zooetics’ was a word that we coined to gesture at colliding human and nonhuman knowledges poetically, fictively, and especially inspired by J.G. Ballard’s fictional living plant technologies in Vermilion Sands. It consisted of a lecture series including Timothy Morton and Keller Easterling, a Future Fiction Summit in Iceland focusing on algae, and an art project exploring mycelium. My future fiction story ‘Asbru’ is published in The Water Age and Other Fictions.

The Edge Effect, Centre d’Art i Natura, Farrera, Catalonia, 2018. Part of Frontiers in Retreat. I presented a text installation entitled FORD, which was inspired by the rivers map of Pallars Sobira. The text is published in The Water Age and Other Fictions.

‘The Extraterrestrial’ in As Above So Below, Allenheads Contemporary Arts, 2017. An installed text, published in The Water Age and Other Fictions. I also ran a future fiction workshop with local children. Their story, ‘The Mission to the Future’, is published in The Water Age Children’s Art and Writing Workshops. Cover Photo: James A. Hudson.

Meanda, a future fiction site installation and novella, in Exoplanet Lot, Maison des Arts Georges et Claude Pompidou, Cajarc, 2016. Meanda is published in The Water Age and Other Fictions. The exhibition brief was to imagine the Lot Valley as an exoplanet.

‘Earth’s Lament’ in Exoplanet Lot, in collaboration with Tania Candiani. I wrote a song based on a lyric by the Occitan female troubadour, Comtesse de Dia, which was recorded by a local Occitan singer. Tania Candiani installed the listening sculpture pictured here to listen to the song in the Lot valley. The song is published in The Water Age and Other Fictions. Tania Candiani, Landscape Sound Amplifier, 2016. Photo: Yohann Gozard. Exoplanet Lot was organised by Maison des Arts Georges et Claude Pompidou, Cajarc.

‘Walking, Mapping and Writing’ radio broadcast in Remote Performances at Outlandia, Glen Nevis, curated by London Fieldworks, 2014 and organised in collaboration with Resonance 104.4 FM. The project is documented in a book I edited with Bruce Gilchrist and Jo Joelson, Remote Performances in Nature and Architecture, published by Routledge. The radio programmes are archived here. Outlandia is a treehouse artist’s studio immersed in a forest and mountain landscape in Scotland.

River Runs, with Urbonas Studio and Giacomo Castagnola, Modern Art Oxford, 2012. We were interested in the river as commons, as a space with different rules from the space it was flowing through. We investigated one stretch of the river in Oxford – interviewed people who live, work and play on the river, looked at aquatic flora and fauna, built a raft from recycled materials and took it on river journeys. Nomeda and Gediminas Urbonas published an essay on the project in Public Space? Lost and Found. Photo: Nomeda Urbonas.

The Wet Symposium, The Thames, Oxford, 2012, in collaboration with Urbonas Studio, Giacomo Castagnola, Modern Art Oxford, the Outdoor Swimming Society, Oxford Brookes University, and the Canal and River Trust. A symposium on the future of rivers, held in and with the river.