Digital drawings exploring the fetishisation of race.
Installation : “Why can’t we be friends now? It’s what I want. It’s what you want”. consisting of large scale prints on paper, coloured lights and audio recording played in a loop.
An installation that examines the forces that have influenced the development of urban topography. The dynamics of a locality have been analysed using Alan Turing’s research relating to animal markings.
Turing’s reaction-diffusion theory explains the reaction between two chemicals referred to as the “activator” (a chemical that can replicate) “inhibitor” (a chemical that inhibits the progress of the activator) and demonstrates how they form patterns in nature. This principle of the activator and inhibitor has been applied to urban centres.
For the purposes of the installation the activator and inhibitors can be a number of events, public trends, policy rulings or opinions related to memory. Activators include redevelopment, new development or economic confidence whilst the inhibitor include historical significance, social change or economic viability. Motifs representing the activators and inhibitors were mapped over plans of urban centres. The result was a series of large-scale schematic-like generative compositions chronicling, economic optimism, social decline, regeneration or dereliction. The compositions depict the formation of patterns when different data is mapped to the topology of a city.
“Theories permit consciousness to ‘jump over its own shadow,’ to leave behind the given, to represent the transcendent, yet, as is self-evident, only in symbols.” Hermann Weyl, logician mathematician
Large scale digital drawings and ultra high definition animations created from algorithms exploring the visualisation of theoretical ideas. The drawings are inspired by the work of Satyendra Nath Bose and Rabindranath Tagore and explore the application drawing as a method of rationalisation and an interface between the theoretical and perceivable. The pieces are created by manipulating aspects of an algorithm.
Public artwork commissioned by Santander. The Artwork is composed of four panels and the pattern is composed of glass aggregate and broken glass tiles encased in clear resin and explores themes of motif, memory and permanence.
A series of time based studies exploring the proliferation of spontaneous patterns of movement through crowds during large public gatherings via a process of cultural learning. Each of the video compositions was filmed during public festivals or unplanned gatherings in which people were free to dance spontaneously. The compositions explore the phenomenon of cultural transmission whereby one person leads others into a improvised dance or movement. As more people participate a pattern emerges that proliferates through the crowd driving the energy of the celebration. Each individual becomes consumed in the moment and lead individual that initiated the process is absorbed as the movement becomes self-perpetuating.Untitled moment 1 Duration 2:23 Untitled moment 2 Duration 1:51 Untitled moment 3 Duration 1:51 Untitled moment 4 Duration 0:53 Untitled moment 5 Duration 1:14 Untitled moment 6 Duration 1:30 Untitled moment 7 Duration 1:46
Commissioned to photographically Document the opening of the new gallery space in Nottingham.
A live artwork performed collaboratively with contribution from Artist Neemita Dabhi, consisting of a large scale ephemeral drawing made through mass participation with visitors to the Southbank Centre, London as part of the Alchemy Festival 2011. The piece explored the spontaneous transfer of cultural data, the act of drawing as ritual and notions of shared space. The pieces where created and destroyed by members of the public directed by Ashokkumar Mistry using a mixture of ritual, storytelling and gameplay.