Images of Power, Seen Fifteen Gallery
2 – 11 September 2016.

Curated to mark a momentous year in politics, from the United Kingdom abandoning the European Union, to the nomination of a reality television star for United States President, Images of Power examines the carefully curated images which politicians attempt to broadcast of themselves, and the ways that artists appropriate and subvert them. Featuring: Christopher Anderson’s Stump, a series capturing ruthless candid portraits of prominent US politicians and their supporters on the 2012 presidential campaign trail. Daniel Mayrit’s You Haven’t Seen Their Faces, employing an aesthetic normally reserved for wanted criminals to draw attention to the one hundred most powerful people in the City of London. Mark Duffy’s Vote No.1, documenting the unintentionally bizarre juxtapositions found in the electoral posters which litter the Irish landscape at election time. Hans Poel’s Petting Politics, illustrating the crass photo opportunities and manipulative use of children and animals by politicians desperate to win votes.


Christopher Anderson


Christopher Anderson


Christopher Anderson


Daniel Mayrit


Daniel Mayrit


Hans Poel


Mark Duffy


Mark Duffy

14 August 2016

Power to the Edge
(2016 – ?)

Power to the Edge is about long predicted but increasingly realised forms of networked warfare.


Very Now, London College of Communication
11th July – 12th August 2016

Co-curated with Max Houghton to coincide with the college’s Festival of Art and Journalism, Very Now highlighted the intersection of these two fields with works from an array of artists who blend the conceptual strategies and modes of dissemination of art with the timeliness and real world concerns of journalism. Very Now included works by Jeremy Deller, Edmund Clark, Adam Broomberg and Oliver Chanarin, Peter Kennard and Cat Phillips, Laura El-Tantawy, David Birkin, and Lewis Bush. Displayed alongside pieces by these artists and photographers were projects by groups of UAL students who worked reactively to produce new work on the theme of art and journalism. These projects included a reactive photograph which dynamically responds to viewer comments, an animation about insect sized drones and a large scale display of slides from NSA documents leaked by Edward Snowden.

Very Now (87)


Very Now (69)

David Birkin


David Birkin

Very Now (22)

Adam Broomberg and Oliver Chanarin


Adam Broomberg and Oliver Chanarin


Lewis Bush


Very Now (38)

Edmund Clark


Laura El-Tantawy

City of Dust, Westminster Reference Library
11th – 23rd July 2016

City of Dust series looks at the idea of London as a form of living memory palace, a place where the past is constantly dug up, reawoken and disinterred by the simple act of walking through the city. An ongoing body of work, this exhibition at Westminster Reference Library was an opportunity to review the photographs so far, and to display them alongside a series of texts from the library’s collection which had been influential on its development. To coincide with the exhibition a newsprint publication was also produced based on the project so far, with the pages of the publication forming the basis for the display on the wall, allowing visitors in effect to take the exhibition away with them.

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27 April 2016

City of Dust

Relating walking and memory to explore the history of London. A publication which pulls apart to form an exhibition.

2016. 29 x 38cm, 28 pages black and white on newsprint.

More information about City of Dust.

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16 February 2016

A Model Continent

Documenting a theme park where European national landmarks are reproduced as scale models. Part funded by the European Union, the park showcases an idealised continent where once divided nations co-exist in peaceful harmony. The requirements of a tourist attraction however has created unintended juxtapositions between these models and their surroundings. The model crowds at momentous historical events are noticeably small, roads and bridges end abruptly in mid air, and the branding of corporate sponsors are incongruously inserted into the scenery. Even the selection of which monuments are included in the park reflects a very loaded sense of which parts of Europe’s history matter, and which do not. These awkward contrasts seem to speak of the difficulties of the real continent to which this park refers. Rather than an exemplar of harmony, Europe is an increasingly a divided union, wracked by financial, political, and humanitarian upheavals, and where the lessons of history are often forgotten in the search for comforting but simplistic narratives.

Buy A Model Continent book

A Model Continent

2 France, channel tunnel

The Channel Tunnel, France

Alden Biesen, Belgium

Alden Biesen, Belgium

8 Seville Bullring, Spain

Seville Bullring, Spain


The Acropolis, Greece


9 Great Britain, White Cliffs of Dover

The White Cliffs of Dover, Great Britain


10 Italy, Venice

Venice, Italy


Ways of Seeing Algorithmically
Augmented Reality Smartphone Application

In 1972 a small book changed the way the public thought about visual culture. Ways of Seeing made ideas from fields like structuralism, feminism and Marxism widely accessible, and in the process changed popular discourse about art. However, since this time a paradigmatic shift in seeing has occurred, and this is that humans no longer hold a monopoly on interpreting, understanding and acting on what they see. When Berger wrote his book the field of computer vision was in its infancy, but today it is ubiquitous.

In response to this I am reworking Berger’s Ways of Seeing to take account of this shift in seeing. Just as Berger’s book sought to educate audiences about the ways we perceive and interpret art, Ways of Seeing Algorithmically aims to help audiences understand how these technologies are made and work. To do this, new text, imagery and video is overlaid on to the pages of Ways of Seeing in a way which creates contrasts and juxtapositions between Berger’s text and images and my own. The completed project will be available as an augmented reality application, which when combined with a copy of Ways of Seeing, will detect the book’s pages and overlay this new content directly on to them, causing the new iteration of the book to inhabit the old one virtually. Anyone with access to a copy of Ways of Seeing will be able to freely, virtually update it into a copy of Ways of Seeing Algorithmically.

Awarded the BMW Residency 2019.


3 October 2015

This is Here

In October 2015 a group of artists and curators were invited by Aalto Projects to respond to St. Bartholomew the Great, the oldest church in the City of London, by planning, making and installing an exhibition over the course of two days. Rather than attempt to compete with this magnificent space as other artists had attempted to do, I decided instead to play to the specificities of photography and the contrasts these could offer, attempting to relate the ancient, enduring and vast scale of St.Bartholomew’s to the intimacy, fragility and temporality of a printed photograph.

While exploring the church I was drawn to the floor tombstones, many of which have been heavily worn by the footsteps of countless monks, priests and parishioners. These stones are all set to face east, a practice which reflects the biblical characterisation of Christ as the rising sun, who would return in the east on the Day of Judgement to consume the unfaithful and raise true believers. I re-photographed sections of these tombstones and before reproducing them at life size, overlaying the prints directly on to the original tombs. The light in the church is stark and constantly changing and these photographs capture the shadows at particular times of day. As the light moves around the church the shadows in the space gradually come to align with those in the photographs, creating a sundial effect.


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7 August 2015

Voina Videnia

In tandem with every modern conflict there occurs a parallel media conflict. Belligerents struggle for the symbolic support of onlookers just as much as they battle for the physical control of strategic locations and resources. In such a context, manipulated and propagandistic photographs circulate masquerading as objective fact, and nothing can be taken at face value.

Voina Videnia explores this media conflict in relationship to the ongoing unrest in eastern Ukraine. Apparently consisting of photographs appropriated from the Instagram account of a pro-Russian Ukrainian fighter, as the series progresses inconsistencies emerge which gradually reveal that the ‘photographs’ on the account are in fact depicting events in a popular video game.

In doing this Voina Videnia is intended to encourage reflection on the compromised nature of photography, and to more importantly to equip viewers with a tool kit of simple strategies designed to help them scrutinise such imagery with a greater knowledge of how photographs can be constructed or construed in order to deceive.

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Shadows of the State

Tracking and mapping the covert radio stations used by intelligence agencies to communicate with their agents in the field. Includes 24 barcodes which open recordings of the stations when scanned.

Published 2018 by Brave Books, designed by Tom Mrazauskas. Hard cover, case bound, 30 x 22cm, 192 pages on uncoated paper.

More information about Shadows of the State.

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