Author Archive for admin

My practice is entirely site responsive and site-specific, so the idea of ‘place’ is central to my work. I immerse myself in research, exploring both the experiential materiality of place and the subtle threads of meaning a place has for those who have known it before or may know it now. Working with a combination of found objects, people and place, I use the subtle actions of gathering, re-moving and of re-recording, to create interdisciplinary works that explore the limitless possibilities of shared memory and identity.


Awards & commissions

Glencoe House, Perle Hotels, Artist in Residence, (on-going) 2021

Gask House, photography commission, 2020-21

Turmeric Trail, theatrical costume commission, 2019-20

Hidden Door Art Festival, invited artist commission, 2017

Imaginations, Interiors, Surfaces, (book) published by University of Aberdeen, featured artist, 2017

Edinburgh Sculpture Workshop Graduate Studio Award, 2016

Royal Scottish Academy Art Prize, 2015

Macleane Watters Medal, 2015

Award for Excellence, Leith School of Art Prize, 2010


Selected exhibitions & performance

Hidden Door Art Festival, Edinburgh, May-June, 2017

Scottish Society of Artists Annual Exhibition, Royal Scottish Academy, Edinburgh, Oct-Nov, 2016

ESW Members Exhibition, ESW, Edinburgh, Sep-Oct, 2016

Corridor Illusion, Edinburgh Annuale, Edinburgh Sculpture Workshop, Edinburgh, June, 2016

Edinburgh 11, EBOR Gallery, Littleborough, Manchester, March, 2016

Lucy Suggate residency (Cosmic Sculptures), Dancebase, Edinburgh, January 2016

Edinburgh Art Festival, August, 2015

RSA New Contemporaries 2015, Royal Scottish Academy, Edinburgh, March – April, 2015

Visual Arts Scotland Annual Show, 2015, Royal Scottish Academy, Edinburgh, February, 2015

Degree Show, Edinburgh College of Art, Edinburgh University, May 2014

Confessional Art/Art Confessions, ARTIST ROOMS Research Partnership, ECA, April, 2014

Chrystal Macmillan Building, installation (selected) University of Edinburgh, 2014

Salonely, EMBASSY gallery, January, 2014

Annual Show, Leith School of Art, Edinburgh, June, 2010


Exhibitions

Still, at Patriothall gallery, Edinburgh, September, 2014

Red Alert, at Edinburgh College of Art, Edinburgh University, March, 2014

RCA@ECA, Edinburgh College of Art, February 2014 

Fella ciao!, at Edinburgh College of Art, March, 2013

The Office, at Clarendon House, Edinburgh, October, 2012

Socks & Scandals, at Edinburgh College of Art, March, 2011


Workshop leader

Group vocal improvisation workshopsESW, 2016-17

Site and art-work-specific breath, movement & vocal improvisation groups for specific projects, 2014-17


Education

B.A. (Hons) Sculpture, Edinburgh College of Art: Grade: II(i)

Foundation Course in Art, Leith School of Art, Edinburgh: Grade: Distinction

BTEC Professional Diploma Certificate in Kiln Glass, Westminster Adult Ed. College, London

City & Guilds, Cabinet Making, Guildhall University, London

Postgraduate Diploma, TV & Radio Journalism, Lancashire Polytechnic

B.Sc. (Joint Hons) Physics & Science and Technology Policy, Manchester University: Grade: II(i)



Recording on location for Still Life
Performing artists: Paulina Sandberg, Despina Nissiriou and Kjersti Sletteland. Sound engineer: Gavin Fort

Still life, 2016

A site specific, sound-led film recorded and filmed inside a derelict World War II bunker on Cramond Island in the Firth of Forth.

Watch film

900

Ariel, 2016

A site specific, sound-led film recorded and filmed inside a derelict World War II gun bunker on an uninhabited, tidal island – Cramond Island.

Watch film

Hope in Projection, 2017

For Hidden Door Festival, Edinburgh

A site-specific, two-channel sound and film installation in an abandoned cine-projection room in Leith Theatre. Built in 1932 as a grand symbol of civic pride, the theatre fell from memory and into decay following a Luftwaffe bombing raid early in WWII. The projection room had never housed a projector or shown a single film. For Hope in Projection accidental and performed sounds – the artist’s voice and an abandoned piano – form the looping, reversing and repeating soundtrack to a film shot of a 16mm film projector. 

Watch and listen to an extract

Trace, 2015

Edinburgh Art Festival

A site-specific, part-improvised, live group vocal performance created and shared within and in response to the vast, neo-classical ‘Adam Dome’ library of H.M. General Register House – the eighteenth century, custom-built repository of Scotland’s public records of births, marriages and deaths. Performed by members of an informal choir dispersed among an audience invited to stand where they please, the loose score traces the sharing of breath, of surnames and of fragments of national poetry between generations of Scots separated by vast distance and time. 

Listen to an extract with images

Kairos II, 2015

Royal Scottish Academy New Contemporaries exhibition

A site-specific installation with a found object and four-channel, polyphonic sound for the Sculpture Court of the Royal Scottish Academy. The work returns the Venus Marina antique cast from the Sculpture Court of Edinburgh College of Art to its original, pre-1908, home in the RSA’s Sculpture Court. Placed around the Venus Marina are four speakers through which plays a recorded, part-improvised, durational polyphonic performance of an excerpt from Purcell’s ‘Dido’s Lament’, scored and sung in reverse in the Sculpture Court of ECA. 

Awarded the Royal Scottish Academy Art Prize & Macleane Watters Medal, 2015

Listen to an extract with images

Kairos I, 2015

Royal Scottish Academy New Contemporaries exhibition

Sound installation in the grand neo-Classical portico of the Royal Scottish Academy, Edinburgh. Ceiling-mounted stereo speakers emitting sounds of passing thunderstorms merging with real-time ambient street noise. 

Listen to an extract with images

Casting in Retrograde – a diptych, 2014

Degree show, Edinburgh College Art, Edinburgh University

A site-specific polyphonic sound installation in the casting room of Edinburgh College of Art withfound objects including plaster casts, moulds and traditional casting materials.

The sound, an excerpt from ‘Dido’s Lament’, is scored and sung in reverse as a six-part canon in Edinburgh College of Art’s vast and resonant sculpture court and played back in the diminutive space of the casting room. A live performance of the vocal work in the sculpture court completes the diptych. 

Listen to an extract with images