BiographyI live and work in London and lead the BA Fine Art XD Pathway at CSM. Recent exhibitions include Beyond Orientation: Eight Views (Korea Kulturhaus, Vienna, 2017); Urban Landscape and Memory (Bizkaia Aretoa, Bilbao, 2014); Cartographies of Life and Death (London School of Hygiene and Tropical Medicine, London, 2013); TOPOPHOBIA (Danielle Arnaud Gallery, London, Bluecoat, Liverpool, and Spacex, Exeter, 2012); and Close to Home (East Street Arts, Leeds, 2012). Amongst other venues, I've also shown on Essex village greens, at Tate St Ives, and Pitt Rivers Museum, Oxford.
I collaborate from time to time with Polly Gould as Eggebert-and-Gould: 'Operating in locations used to promote knowledge or collate certain domains of thought, their work often subverts, unravels or plays at the edges of presented discourses...' (Transmission: Speaking and Listening Vol 3, ed. Kivland, Sanderson and Cocker, 2004). We have shown at Cambridge University Botanic Gardens, the Royal Institution of Great Britain, the British Library and the Haus am Lutzowplatz, Berlin, and co-curated TOPOPHOBIA (as above) and Nature and Nation: vaster than empires (Hastings Museum and Art Gallery, The Yard Gallery, Nottingham, and Worcester City Art Gallery, 2003).
Other collaborators are Sarah Cole (Folly at Valentines Mansion, London, 2009), Canadian artist Fae Logie (At a Distance at Valentines Mansion, 2010) and Julian Walker (Mr and Mrs Walker have moved at Kettle’s Yard, Cambridge, 1998, and Shifting Boundaries, Brighton Festival, 2011).
My work explores how our encounters with the representation of landscape (local and distant) impact on how we perform place. Does the digital deja vu experienced through our virtual visits to other landscapes prompt a different performance of place once we arrive on that terrain? Does the digital stilling, silencing and flattening of space disturb our embodied encounters with it? How do these encounters impact on our sense of placeness and connection to the other? Do they simply contribute to the proliferation of images of place that somehow become its unmaking – or might they be a tool for subjective response to the location of the distant human? I’m interested in these technologies of disappearance and how they arouse anxiety for what is slipping away from us.
Ongoing questions for me are how the distinction between finding and losing one's sense of place might be blurred, how we imagine or intervene in each other's idea of place, and what our shared or differing landscapes might reveal about our sense of place in the world.
I’m also interested in the potential of collaboration and the shared ground of publicness as space for the production of sustainable communities of practice for young artists.