/2
/2

They sit huddled by the water’s edge, a subdued gathering of orange, green, magenta, blue. As the rising light glances over their reinforced steel shells, stray shadows catch at the corrugated sides, fooled by the illusion of depth. Nothing penetrates. From the sky, they are military decorations stitched across a broad grey chest.


They are being held in a marginal place, awaiting allocation. This place has a different geometry to the rest of the coast. It is functional and deliberate, comprised of careful incisions cut into the land like the inner workings of a complex lock, and a thin jetty which runs alongside, rationalising the jagged coast into a single hinged line.


Marseille’s Fos Port is a circuit board, alive with discreet intention. By day, the arriving boats jostle like eager suitors as a line of sentinel cranes pivot and bow over the concrete, shuffling units like tarot cards. The air is filled with industrial noises and the smell of petrol and salt. Every movement is dictated from a distance.
By night, the mechanical dance continues. Sunshine is replaced by harsh fluorescence and torchlight. Security cameras twitch at fleeting movements as guards patrol the perimeter. Under the toxic buzz of tungsten lamps, goods are unloaded from lorries, held in stasis, then placed on a carousel and passed on to the waiting boats.


This place possesses a unique psychic energy. As a site of storage and transmission, every passing object, idea and face leaves an impression. They pool in the gutters and bloom out of the concrete, merging with the industrial landscape to form compound identities, so that the place itself, filled with so much fluctuating and fragmented matter, constitutes an altered state.

Despite the implied impregnability of steel and concrete, the site is revealed to be mostly water and therefore mutable. As a result, these impressions have a subjective quality to them. Vague images swim into focus: averted eyes, a cluster of cells, a forming wave. Ideas of what could be true, or might have been intended. Content, provenance and destination remain obscure.


Even the units themselves, each as defined and opaque as the back of a head, melt into a single, convergent mass as they are held together in this nowhere place. Their colourful stacks stretch into long, orgiastic ribbons of possible identity, pollinated by the atmosphere. Their resolute sides morph into fertile sites for projection and extrapolation as the irrepressible ocean swells beneath. (Text by Claudia Paterson)

Installation view
2020
Installation view
2020
No water is separate from any other water
MDF, polymerised gypsum, steel, paint, sand
180×1724mm
2020
No water is separate from any other water
MDF, polymerised gypsum, steel, paint, sand
180×1724mm
2020
Deep Blue Day
MDF, polymerised gypsum, steel, paint, sand
225×1724mm
2020
Deep Blue Day
MDF, polymerised gypsum, steel, paint, sand
225×1724mm
2020
Collective Memory Storage
2020
Collective Memory Storage
Plexiglass, dust
2020
Installation view
2020
All waters converge
MDF, polymerised gypsum, steel, paint, sand
350×800mm
2020
All waters converge
MDF, polymerised gypsum, steel, paint, sand
350×800mm
2020
Installation view
2020
Installation view
2020
Soup
MDF, polymerised gypsum, paint, grit
2020
Globe Trotter
Polymerised gypsum, resin, oil paint
483×583mm
Foraged I&II
Steel, epoxy putty, oil paint
Dimensions variable
2020
Foraged I
Steel, epoxy putty, oil paint
Dimensions variable
2020
Foraged II
Steel, epoxy putty, oil paint
Dimensions variable
2020
Islands I & II
Plaster, steel, oil paint
2020
TE/POD/D
Soundpiece made in collaboration with William Rees
20:46:00
2020
/1
Lot
Archival box, plaster, epoxy putty, oil paint
2020
Digressions
Resin, plaster polymer, epoxy putty, oil paint
2020
/8

This is a show about the edge of a night city. How things get built, how things get sold. All things have their time, peaks of activity and then the long wait for their own sad slump. The landscape turns to real estate, speculative development turns viral and things need to be put places. A mass of objects will come back to us. Stargazing is interrupted by a security torch, moonlight can’t compete. The guard dogs on the loose and it can smell your stinking fear.
In this room there is a family trip, someone dreaming of a petrol station, thinking architecture, blank newspapers, empty containers, obsolete carousels forever looping, exponential growth, dying daisies, security-guard torches, pyrotechnics on the edge of an island, moonlight blue, everywhere and everything, nowhere and nothing.
The container is an architectural site of things and thoughts, real and imagined objects. Most of these things are asleep; stuck in a still-life. Stuck on an island. Aside from the river of concrete that’s rolled over by people on their way to different places, this place is surrounded by an ocean of mud. From whichever direction look, it's all you can see.

North – ocean of mud
North by east – ocean of mud
North east by north – ocean of mud
North east by east – ocean of mud
East by north – ocean of mud
East – ocean of mud
East by south – ocean of mud
South east by east – ocean of mud
South east by south – ocean of mud
South by east – ocean of mud
South – ocean of mud
South by west – ocean of mud
South west by south – ocean of mud
South west by west – ocean of mud
West by south – ocean of mud
West – ocean of mud
West by north – ocean of mud
North west by west – ocean of mud
Northwest by north – ocean of mud

Installation view
2019
Installation view
2019
Installation view
2019
Burnt Corn Burgundydrop Bonnet
Resin, epoxy putty, oil paint
340×80mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Some Things Last A Long Time (Lot 9)
Wood, steel, newspaper, epoxy putty, wire, oil paint, emulsion, cardboard, castor wheels, tumbleweed, projector, 50 colour slides
2450×240mm
2019
Installation view
2019
Family Trip
Newspaper, epoxy putty, oil paint
500×185mm
2019
Have you got a room with a better view? (Lot 34)
Wood, steel, epoxy putty, oil paint, emulsion, cardboard, plaster polymer, sand
800×1045mm
2019
Have you got a room with a better view? (Lot 34)
Wood, steel, epoxy putty, oil paint, emulsion, cardboard, plaster polymer, sand
800×1045mm
2019
Burnt Toast Dying Daisies
Resin, epoxy putty, oil paint
1000×30mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
We are currently experiencing a high volume of calls (Lot 20)
Plaster polymer, foamcore, sand, epoxy putty, paint, cardboard
400×1950mm
2019
/2
Big Yellow
Wood and paint
2019
Storage Wars
Plaster polymer, sand, paint
2019
48" Father and Son, &, 10,000 Days of Realty
Plaster polymer, sand, paint & plaster polymer, sand, paint, wood
2019
Burnt Toast Lilac Dapperling
Resin, epoxy putty, oil paint
2019
Installation view
2019
Burnt Toast Cystolepiota Seminuda
Resin, epoxy putty, oil paint
2019
Installation view
2019
Hip Bones Brick Tuft
Plaster polymer, epoxy putty, oil paint
2019
Installation view
2019