17 August 2020

Published as an outcome of the BMW Residency 2020, this book consists of an extended essay exploring themes related to the rise of computer vision, the nature of art, and the failures of capitalism.


Published by Editions Trocadero 2020, designed by Audrey Templier. Soft cover, perfect bound with card dust cover, 21 x 25cm, 78 pages on uncoated paper.


More information about Ways of Seeing Algorithmically




22 June 2020

Latent Labour

Once mundane activities now seem to carry a deadly risk. The fear, justified or otherwise, of carrying infectious residues of the Covid-19 virus into one’s home is a very real one for thousands of people, both those with underlying health vulnerabilities and those without. In response to this  I began to approach shopping from the perspective of a forensic investigator.

During my weekly shop and when receiving deliveries by post, I handled everything with latex gloves, relaying these items to an improvised fingerprinting lab in my home. I then dusted these items with forensic fingerprint powders, which revealed the invisible or ‘latent’ prints of others who had handled these products at different stages between their production and delivery.

What began as an inquiry into fears about contamination has also become one about the traces left behind by the labourers who make our modern economies possible. Shop workers, parcel delivery people, warehouse workers, and the like are both amongst the most poorly paid, and also often most exposed in a time of social distancing. That vulnerability in large part stems from their invisibility to the rest of us, even when they, and their traces, are in fact right in front of our eyes.

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14 May 2020

The Migrant Archive

The Migrant Archive is an examination of Britain’s attitudes towards it’s imperial history. Centrally it examines the ways that records of repressive actions in the colonies were systematically erased as part of the process of decolonisation. More broadly it examines the way that cultural conditioning in the United Kingdom has given rise to a profoundly distorted sense of the empire’s character and purpose, and links the consequences of these things to contemporary issues including long standing immigration policies, Brexit and the Windrush scandal.

3 January 2020

The vast majority of the images we encounter each day are natively neither physical nor even visual, but are composed of various forms of hidden textual data. This has a wide range of implications, not least for the development and understanding of computer vision systems.

In collaboration with creative coder and generative artist Matt DesLauriers, we are developing a system which transforms recognisable photographs into new visual forms. These outputs appear highly abstract and at times even random, but contain essentially the same data as the source image, only re-rendered into new forms, largely unrecognisable and unintelligible to human visual cognition.

The outputs from this system are still, in a very literal sense, photographs, but in rendering them in this way we hope that human viewers will start to appreciate some of the ways that computer vision is very different from our own. In particular the way that these systems see images not as a series of symbolically significant visual elements adding up to sum greater than their parts, but as an impersonal aggregation of tonal, chromatic and spatial information.




Various self-published zines and other small publications.

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Eleven Privatised Public Assets (2018) Consisting of satellite maps of vast formerly state owned enterprise, since sold off to the private sector. A4 (A3 when opened), 24 pages, printed on 100gsm satin paper and staple bound.

Stryker (2017) Creating a story from photographs hole punched by the Farm Security Administration’s Roy Stryker. A5 (A4 when opened), 32 pages, printed on 100gsm recycled paper and staple bound.

Peckham Gothic (2012) Making the middle classes look like depression era sharecroppers. A5 (A4 when opened), 20 pages, printed on 100gsm uncoated paper and staple bound.

Official Portrait (2017) Manipulating Donald Trump’s official portrait. This zine can be hung up like a calender. A4 (A3 when opened), 28 pages, printed on 100gsm satin paper and staple bound.

A Model Continent (2014) A postcard book consisting of photographs of a decripted pro-EU theme park. A6 (A5 when opened), 30 pages, printed on 350gsm satin card and glue bound

Metropole (2014) A journey through a dystopian vision of a hyper-developed London. A4 (A3 when opened), 30 pages, printed on 200gsm coated paper and staple bound.


14 September 2019

Trading Zones, St. Helier Old Police Station
19 – 29 September 2018

Trading Zones draws on work produced during my six months as the 2018 Archisle photographer in residence at the Société Jersiaise, time I have spent looking at the islands finance industry. Located in Royal Square’s Old Police Station, itself a former bank and later the location of the Jersey Police Financial Investigations Unit, the exhibition is a multi-method survey of Jersey’s most successful contemporary industry.

Using a wide range of photographic approaches, Trading Zones considers different aspects of finance, from its history and geography to its architecture and visual culture. Alongside this the exhibition reflects on the industry’s complex relationship with the island that supports it, highlighting aspects of Jersey’s past and present which have been conducive to the growth of finance, and inviting Jersey people to contribute their own thoughts about the industry and what in means to them as part of an evolving display.


7 September 2018


A composite of dozens of walks through the city of London, using it’s changing architecture as metaphor for the city’s growing inequalities.

Published by Overlapse 2018, designed by Tom Mrazauskas. Soft cover, swiss bound, 20 x 28cm, 160 pages on various papers, 12 inserts.

More information about Metropole.

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26 July 2018

The Organisation

For the cultural critic Walter Benjamin, the early shopping arcades of Paris were the defining buildings of the nineteenth century, spaces where the technologies, mores, and concerns of the time coalesced within a single structure of iron and glass. If one were to look for a comparable space to represent the late twentieth and early twenty first century, a strong candidate would be the international airport.

These are the spaces that most of us seek to spend as little time in as possible, and to spend that time as distracted as possible from the environment that surrounds us. And yet this space is one where so many of the defining features of our time unite under one roof, from global trade and mass migration, to environmental challenges to security concerns, the modern airport represents the complex, vulnerable, interconnectedness of the modern world.