Curating the Machine

Since May 2017, alongside everything else, I been undertaking a fellowship with Near Now in Nottingham. The Fellowship, now in its third iteration, is for anyone interested in developing a project that uses technology in a creative way.

For my fellowship I have been conducting research into the relationship been copyright, curating and automation. There are no concrete outputs yet but do take a look at the blog, Curating the Machine, which collates all of my research to date.

If any of this sparks an interest or it you want to know more please do get in touch! I’ll also be at Transmediale on a research trip (thx Near Now) at the end of January if you want to meet IRL 😺

Granular: The Material Properties of Noise, 16th January – 3rd February

From 16th January – 3rd February my 2016 piece Transformative Use will be on show at University of Greenwich as part of Granular: The Material Properties of Noise.

Granular noise is explored as a condition of material transfer in this exhibition. A central concern across the works on display is the material state change that occurs within the processes of mediation. Here, disintegration and/or reintegration of elements at a granular level is encountered as a mode of transference between states, whether physical or digital, and as a phase at which a thing starts or ceases to be.

Exhibiting artists include: Jim Hobbs, Benjamin McDonnell, Antonio Roberts, David Ryan, Audrey Samson and Rob Smith.

The exhibition features my work Transformative Use, which was originally commissioned by Hannah Pierce for the Common Property exhibition in 2016. It’s the first time it’s been exhibited since then. If you want to see some work-in-progress installation shots check out my all new arty Instagram account.

Alongside the exhibition is the Granular Colloquium, taking place on 27th January:

Utilising a range of formats from audio-visual performance to talks, this event is an experiential investigation of noise as a granular entity. State changes are a central theme. Processes of disintegration and/or reintegration of material elements at a granular level are explored, both as the mode of transference between states (whether physical or digital) and the means by which a thing starts or ceases to be.

I’ll be at that, talking a bit about glitch and its relation to copyright, as well as regular ol’ copyright. Tickets are £10.

If you didn’t get the chance to see Transformative Use in 2016 now is a great time to see a new and updated configuration of it.

Basquiat’s Brain, 12th – 28th January 2018

From 12th – 28th January a series of animated portraits, developed in response to the Boom for Real Basquiat exhibition, will be on display at Barbican.

Barbican young creatives, along with artist and curator Antonio Roberts, present a collection of work in response to Basquiat: Boom for Real

Artist and curator Antonio Roberts worked with a group of Barbican young creatives over three months to create artwork in response to the exhibition Basquiat: Boom for Real currently showing in the Barbican Art Gallery.

Over the course of four sessions the group examined artist Jean-Michel Basquiat’s explosive creativity and imagined the techniques and methods he might use if he was still creating art today.

The resulting animations combine more traditional methods of creation such as photography and collage, with more experimental practices such as glitch art, digital collages, animated gifs and projections. Each animated selfportrait reflects the identity of the artist who created it.


  • Max Baraitser Smith
  • Isabella Barbaro
  • Alex Cole
  • Hector Dyer
  • Antonio Roberts

The animations will be projected near the exit of the curve exhibition space where people are often studying. It’s hard to miss as it has my big face on it.

Many thanks to the Barbican Creative Learning team for inviting me to do this 🙂

CopyCamp 2017 video

The video of my presentation, No Copyright Infringement Intended, from CopyCamp has now been uploaded.

The presentation is largely about the No Copyright Infringement Intended exhibition along with some thoughts about how we can help artists better understand the complex area of copyright.

Photo by Rafał Nowak

Photo by Rafał Nowak

It of course featured sharks 😉 I posted a more detailed writeup of my experience for my Near Now fellowship blog, Curating the Machine.

Copyright as Frame and Prison video

The video from the Copyright as Frame and Prison panel discussion is now online. Many thanks to Michael Clifford for filming it.

Copyright as Frame and Prison

Copyright as Frame and Prison

Copyright as Frame and Prison

It was a very lively discussion, touching on many of the issues from the previous talk in Leicester but also had more viewpoints from within the creative industries. Many thanks to Lisa Beauchamp, Nikolai Nelles, and Francis Clarke for taking part and everyone for attending and having such great questions. If you missed the Leicester talk the video can be seen below.

End of No Copyright Infringement Intended

After a total of 68 days across two venues No Copyright Infringement Intended ended on 23rd September.

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

It’s been quite a learning experience and I’ve enjoyed pretty much every step of it! It’s been my biggest exhibition to date and I think it was a great success. I’m having a bit of a rest period so that I can go and teach at University of Westminster and Staffordshire University but I’m already planning thing for 2018.

Thank as always to Nick Briz, Emilie Gervais, Nicolas Maigret, Christopher Meerdo, Jan Nikolai Nelles & Nora Al-Badri, Duncan Poulton, Fernando Sosa, Andrea Wallace & Ronan Deazley for taking part, and to Vivid Projects and Phoenix for being such great hosts. And, lastly, thanks to Arts Council England for supporting yet another one of my projects 🙂

Copyright as Frame and Prison, 14th September

Copyright as Frame as Prison, taking part as part of No Copyright Infringement Intended, will be a conversation around the disruptive power of technological innovation on ideas around copyright.

Featuring a panel including Nora Al-Badri, one of the artists behind The Other Nefertiti artwork, Lisa Beauchamp, Curator of Modern & Contemporary Art at Birmingham Museums Trust, and Francis Clarke, organiser of the Birmingham Open Rights Group. And me.

Using the works within the exhibition as a starting point, a panel featuring participating artists and experts in copyright will discuss how emerging technologies are shaping creative processes, how (perceptions of) copyright enable/inhibit those technologically-enabled creative processes, the appropriateness of appropriation and its effect on creative practices.

This event is free. Tickets can be reserved here and are limited to 30 places. Get yours before they all go!

Memes (for Luc Tuymans), 12th September

As part of No Copyright Infringement Intended I will be leading a part presentation, part practical workshop, Memes (for Luc Tuymans), that will consider the history of the modern meme and how it sits contrary to outdated copyright laws which prevent using existing copyrighted imagery in new creative works.

Inspired by Christopher Meerdo’s 2016 project ♡°☆(ಠೆಒಠಿ)☆°♡ (for Luc Tuymans) participants are invited to create memes using Katrijn Van Giels photograph of Jean-Marie Dedecker as source material. The photograph itself was the subject of a plagiarism case against Antwerp-born painter Luc Tuymans, who used it as source material for his painting A Belgian Politician.

The results will be added to with a credit to you, and exhibited at No Copyright Infringement Intended.

This workshop is free. Places can be reserved here. Participants will need to bring a computer with image editing software installed. We can advise on free alternatives should none be installed.

No Copyright Infringement Intended opening, 1st September

No Copyright Infringement Intended at Vivid Projects opened its doors to the public on 1st September and it went rather well! Having the pieces arranged differently in a bigger space definitely changes how they’re viewed. Each piece certainly has more space for itself, but in general it’s been a great learning experience having to consider how works can fill a space differently.

Photos below by Chole Minton
No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

No Copyright Infringement Intended

(more photos can be found here)

Thanks to Nick Briz, Emilie Gervais, Nicolas Maigret, Christopher Meerdo, Jan Nikolai Nelles & Nora Al-Badri, Duncan Poulton, Fernando Sosa, and Andrea Wallace & Ronan Deazley for agreeing to take part in the exhibition. It all really fits well together ^_^

Also thanks to Arts Council England, Phoenix, and Vivid Projects for their support of the exhibition.

The exhibition continues until 23rd September and will be open Thursday – Saturday, 12:00 – 17:00. There’s quite a few associated events taking place, including:

Get your tickets for those soon!

Green Man Festival 2017

I spent an intense eight days at Crickhowell installing my work, Mirrored, at Green Man Festival and I’m only now beginning to process it! Green Man is very different from a lot of music festivals. There’s a real focus on building a strong visual aesthetic and visual arts programme. The location itself is also beautiful and gives a pleasing backdrop to all the activities.

Green Man Festival

I was there to install my work, Mirrored. It was my first time building sculptural works at that size and my first time working outdoors. It was definitely a success, but as with all new experiences I learnt a lot and have a lot that I want to build on and develop further.






(more photos can be found here)

I’m currently thinking about how to develop the piece further, and exploring ways of possibly even ways of reconfiguring it for display in different environments. If you’re interested in displaying them please do get in touch.

Many thanks to Alexis Zelda Stevens and the rest of Green Man for the invite to develop and exhibit new work, and for taking me out of my comfort zone. It was scary but it’s definitely been beneficial for my practice and I can definitely see this being developed further.