I sustain a visual art practice (with an emphasis on the moving image, performance, text and sculpture) through various positions as artist, curator, programmer and writer, and often work under a title or pseudonym, for example Modern Edinburgh Film School, Neon John and ‘The Men and Women are referred to in the text as’, as well as a new exhibition series with seven artists called No.35.
Recent projects include Five Propositions for LUX Scotland, >>FFWD: Contemporary Scottish Art in China with Cooper Gallery, Dundee, a screening installation at Shanghai Minsheng Museum and two screenings: The Hallucinating Edge, Red Brick Art Museum, Beijing and Pure Movement, K11 Art Foundation, Wuhan. Recent writing includes Artists’ Moving Image Festival 2016 at Tramway, Sky is Falling, CCA, Rob Kennedy at Talbot Rice Gallery, Of Other Spaces; When does gesture become event?, Cooper Gallery and the 11th Shanghai Biennale: Why Not Ask Again?
I produced a series projects in 2013 on film and sculpture including Ute Aurand: FILME at Stills, The Slow-Wave and Videotheque at Talbot Rice Gallery, The Hand that Holds the Desert Down, Sarah Forrest, Anthony Schrag and Zoë Fothergill, Lauren Gault: Granular and Crumb and Hold This Object Up Until There is Nothing Left of You at ESW, Green Screen at Embassy Gallery, 6000 Posters for Giants and Dwarfs at Rhubaba Gallery, and The Good Work at New Media Scotland. In 2014 I produced The Silver River at GoMA, for Atelier Public 2 for Glasgow International and a publication of artists’ interviews “A New Island Forming” for Annuale, Embassy Gallery and the experimental writing publication Queer Information. In 2015-2016 I produced the project MOTHS at Summerhall; Ripples on the Pond at GoMA, and at GSS, Old Hairdressers and CCA, a publication project for Scottish Art News, an event on the films of Elín Jakobsdóttir for CCA and Rerecording, with an essay by Richard Taylor.
My practice combines filmmaking, curating, collaboration, publications, commissions and critical writing. It works with themes
of learning about film and its ideas, placing them on a horizontal plane; with moving image and its relationships to sculpture, text, event and performance and how moving image is curated and distributed. It seeks to find new expressions for these subjects, founded in conversations with artists, audiences and galleries, and curators, while pointing to the queer and to feminism, with feminine connotations, with the performative, with disguise, appearance and disappearance, material connotation, how works become extended, and what constitutes the fabric of the work, and movements between screen and sculptural evidence and artefact. It addresses the pursuit of subject, the porousness of the subject, evaded documentary and thoughts around institutions and their methods and the messages they convey. It works with a core group of moving image artists and curators alongside practitioners in publishing, film theory, writing and anthropology. It places the outcomes of its research through talks and screenings with museums, cinemas and galleries and in published, written and spoken forms.