Fresh Pap

2012-01-17T14:01:00.001Z

Grave geometry, 2012

2012-01-12T05:17:00.000Z

Sea, 2012

2012-01-11T19:01:00.000Z

YOUR
RELATIONS
ARE
ALL
POWER
Phrase Art pastiche using Gang of Four lyrics 2, 2012

2012-01-11T18:56:00.003Z

WHITE
NOISE
IN
A
WHITE
ROOM
Phrase Art pastiche using Gang of Four lyrics 1, 2012

Collaborative project: An/onymopolis

2011-12-23T10:19:00.003Z

Matt and I have embarked on a new project. Here's an outline:

The relinquished accountability that anonymity offers the individual can enable both positive and negative possibilities within a social context. It has offered protection to agents of free speech, although simultaneously that same possibility of immunity from repercussion has proliferated antisocial rhetoric and action. Emerging behavioural patterns, which are evolving alongside new communication network structures, only seem to intensify the power the anonymous individual has to effect change on a societal scale. The role this latterly effective form of anonymous agency has played can be noted in many recent socio-political phenomena, including Chinese dissent, Wikileaks, The Arab Spring, within most forms of online criminal activity, international protests and riots, the emergence of the “troll”, and so on.

On a psychological scale, one could theorise that an individual’s behaviour may be significantly different given either onymous or anonymous status.

We propose a series of conversations focussing on contemporary social and political issues be conducted in an environment where the availability of the participants’ identities can be controlled. For example, the conversation would begin in a transparent environment, with all willing participants having a known identity. Then, at some stage the profile of each participant would become obscured. Would this switch enable an alteration in the individual voices or the direction of the conversation to be discerned?

The ubiquity of digital media means that mediated communication is becoming ever more central to our social conduct. We hope this experiment and the resulting text may act somewhat as a case study, via which it may be possible to glean further realisation of the consequence of our current behaviours and tendencies.

The proposed artwork has inspired some great research so far. I'm particularly glad to have found Brad Troemel and his collection of essays "Peer Pressure: Essays on the Internet by an Artist on the Internet". Also to my pleasure, I have rediscovered 0100101110101101.org.

Collaborative project: (poster)

2011-10-13T17:02:00.000+01:00

Alternative title: "Black spot" do graphics

These images represent my input to a collaborative project initiated by Denise, designed to expand the group's visual communications. As her parameters state, she will collate them along with the images Matt has simultaneously produced using an identical set of materials, into poster format.

Black cube, 2011

Cyan lattice, 2011

Geometric paper lampshades

2011-10-05T17:51:00.000+01:00

Rhombic triacontahedron paper lampshade, 2011

Icosahedron paper lampshade, 2011

These lampshades obviously assert the status "design object", but an alternative reading persists solely because of their shape. Polyhedra are the corporeal simulation, models of the perfect form, that is to say geometry. It is this inherent action that creates the pervasive second status that these objects posses. They are also, and will always also be "models".

These two polyhedra are particularly perfect. The triacontahedron is one of the Catalan solids and the icosahedron is a Platonic solid.

Collaborative residency: Interior Transpositions

2011-06-15T15:08:00.002+01:00

Alternative title: "Black spot" do objects

Interior Transpositions was the title Matt and I gave to the month long residency we did in Coventry, West Midlands.

The constraints of limited time and resources forced the collaborators to forgo the usual process. In order that we would be able to operate within these parameters, which were both restricting and urgent, we decided to eschew exterior subject. In its place, we adopted a framework of reductive methods to respond to the space itself. Physical idiosyncrasies of the warehouse’s interior have been contemplated, reiterated, and fed back into the space. This insular and recursive pattern creates a reverberation between the resulting objects and the environment, as they simultaneously describe the space and alter it.

This work addresses an idea that I have been thinking about for a while. When I talk about it, I describe it as "ontological duality/paradox":

An object defines the space it inhabits. This must be the case, the space can not define itself because surely a space with nothing in it, is nothing. This idea of nothingness is counter-intuitive however, when you consider that removing the object from the space will surely not cause the space to cease to exist. This seeming paradox points to a fluidity in our perception of space and a codependency between different levels within the ontological hierarchy in the creation of meaning.

Matt Boynton & Sam Kelly - Interior Transpositions, 2011

2011-01-26T16:10:00.004Z

REAL, 2011

2011-01-25T16:55:00.003Z

Chef Hat, 2010 (ink on A4 80gsm printing paper)

2011-01-25T16:53:00.001Z

Untitled, 2011

2011-01-25T16:47:00.005Z

Untitled, 2010

Since moving house, my personal space - the space which I have formed an affinity with, and importantly which I feel I can work within - has shrunk to about ten inches of desktop in front of the seventeen inch digital window. Of course, this will change as I familiarise with the new environment and my personal space expands, but as yet I have had to just scale down production.

Accordingly, I have developed a fetish for standard, white A4 80gsm printing paper. It satisfies the criteria of a conceptual motif I often use when thinking about my work, which I shall call the “unit”. Extremely ubiquitous forms like A4 paper, the codex, the ceramic brick, etcetera are all the result of the same historical process of interaction between the ultimate spacial unit - the body, and the material. This is definitely a two way process, whereby we shape the object in relation to our bodies but through their use, those objects shape our perception of our environment. The most ergonomically successful forms last, and it is these "units" which I enjoy working with because of their significance and power.

2011-01-25T16:23:00.001Z

Untitled (Engineering Drawing Book 2 G2 by A.W. Lewis and R.W.Millard 1965 [Evans Borthers LTD] page 41), 2010

2011-01-25T16:22:00.001Z

PET film, 2010

2011-01-25T16:13:00.004Z

It didn’t go well for “Black spot” at Radiator festival. No one turned up to perform "Consumer Transposition", and obviously without the numbers the intervention was pointless.

With the benefit of hindsight, it became apparent almost immediately that the flaw was making the plan too complicated. We should have tried to encourage participants to be involved in just one action.

Anyway, everything before and after that behemoth anticlimax was a lot of fun.

2011-01-25T16:00:00.001Z

‘Black spot’ are at Radiator Festival in Nottingham, 14th May.

This is what we are doing:

‘Black spot’ - Consumer Transposition

The “mob” or “swarm” seems to be a pervasive behavioural motif within the virtual realms prevalent today; peer-to-peer file sharing uses the term “swarm” to denote the active group of users, sharing a file, “denial of service” attacks are designed to overload servers by inundating them with far more requests than they can handle, etcetera.

We aim to choreograph an amount of people - similar to the expected traffic of a hypothetical online service, for example, fifty - to arrive, at once, at a physical store located in the city centre. Each of them will then attempt to purchase a nominal item, resulting in a huge queue. Once each person has acquired their item, they will then converge on a predetermined spot outside to consume or evaluate their purchase. This mass congregation should affect and change the flow of pedestrian traffic around them. When each individual has acted out and fulfilled the consumer’s role, they will disperse back into the normal, real world fabric. We envisage that in order to gain a sense of visual impact this performance may be repeated in several locations around Nottingham throughout the festival day.

This mass convergence of bodies influenced by the architecture of mass communication has already been realised by the “flash mob”. But, by taking behaviour which is typical of online consumerism - where businesses and customers alike are not restricted by physical, geographical actuality - and transposing it into a traditional, real world commercial environment, we hope that we can learn more about the parameters of each reality.

The intervention to the everyday movements of people around the city, whilst acting as a poetic analogy for the psycho-geography of the other reality, will highlight the mechanics - the pros and cons - of both systems.

For both the business and the consumer, the transposition inverts and negates the benefits of online transaction whilst simultaneously converting what is isolated and detached into a socially powerful event.

More about the festival here.

2010-03-03T01:27:00.000Z

Transcript "It's gonna rain" (after Steve Reich), 2010

2010-02-04T21:25:00.000Z

Untitled, 2010

2010-02-04T14:42:00.000Z

Synthetic quarts three times, 2010

2009-10-28T12:16:00.005Z

Diamond, 2009

A study of digital video feedback loops

2009-10-06T15:08:00.008+01:00

2009-07-30T15:13:00.003+01:00

Window, 2009

A little whittle

2009-06-11T02:42:00.004+01:00

Found: Arte Povera sticks

2009-06-11T02:38:00.005+01:00

Degree show installation

2009-05-21T18:15:00.012+01:00

Untitled (Degree show), 2009

2009-05-19T15:04:00.004+01:00

"Object" video still, 2009

Filming "the object"

2009-05-13T14:14:00.004+01:00

George Rippon helped me film what I have come to call "the object". This work is destined for the Degree show.

2009-05-02T18:02:00.006+01:00

Space, 2009

2009-04-27T19:09:00.003+01:00

Untitled (latterly "the object"), 2009

2009-04-22T13:14:00.003+01:00

After creating the aforementioned "Overhead" by compositing found digital imagery I felt compelled to enact what I perceived to be happening in the image. So I bought myself a grapefruit, waited until twilight and took it outside, along with my camera.

Grapefruit, 2009

2009-04-22T12:53:00.004+01:00

Overhead, 2009

Laser vs. camera phone

2009-04-16T17:29:00.003+01:00

2009-04-16T16:50:00.002+01:00

Squared paper, 2009

2009-04-07T20:44:00.011+01:00

Wan/wane, 2009

2009-04-03T22:34:00.005+01:00

Untitled (after James Cameron), 2008

2009-03-25T20:31:00.003Z

Untitled, 2005

2008-11-25T14:16:00.006Z

Object Image, 2007

2008-11-25T12:43:00.006Z

Flat fruit (after Caravaggio), 2008

2008-11-15T04:37:00.000Z

Simple détournement, 2008

2008-11-13T15:45:00.000Z

Hedge, 2008

2008-11-06T01:48:00.000Z

Photoshopping a lamp post, 2008

2008-10-13T18:39:00.002+01:00

Spine, 2009

2008-09-30T21:24:00.000+01:00

Japonais, 2008

2008-08-06T21:21:00.000+01:00

Untitled (Coventry war memorial), 2008

2008-07-24T05:01:00.006+01:00

Geometry recursive, 2008

2008-07-02T10:43:00.001+01:00

Negative Greek, 2008

2007-09-13T21:18:00.000+01:00

Untitled (interior), 2007

2006-12-08T13:55:00.000Z

Untitled, 2006

2006-11-23T14:48:00.000Z

Untitled, 2006