What's Hot, What's Not

My practice is ...


My work …

– is transversal

– inhabits a transgendered space

– is post-/para-fictional

– was inspired by an artist who lived in the Amazon/Slough/Czechoslovakia/Scotland in the early 1970s …
– references both my height and the height of my bedroom ceiling when I was a teenager 

– repositions an earlier engagement with …
– is super-performative
– references Bertolt Brecht, Frédéric Chopin and Charles M. Schulz
– engages with non-human species

– is part of my socially engaged practice

– is part of my broad toolbox of activist strategies

– is kind of like beyond language
– is who I am
– is part of a collective which …

– is a collaborative practice investigating xyz potentialities

– limns the space wherein the digital erupts into sculptural objecthood

– generates a matrix of networks that refer to a circuit of references
– is about how great animals are


My practice …

– blurs the boundaries between

– reinscribes/encodes
– maps the terrain of the ineffable

– indexes the archival impulse

– explores the topographical limits of the necessary

– reclaims the polis/agonistic public realm

– is part of a regime of the sensible

– is a critique of Post-Fordist economy/affective labour

– offers an autonomous space of resistance
– strategically inhabits a liminal zone in which it both enacts and critiques …

– is essentially performative

– is overwhelmingly discursive 

– is deliberately opaque

– is deliberately crass

– is developed out of artistic research

– has evolved in response to the pedagogical turn

– investigates failure as a conceptual strategy
– is informed by dressage
– fumbles in the dark with the zipper of Postmodernity

– gets drunk and pukes all over the topographic modalities of the real

– is, like, really, really sorry and hopes the real will return soon

– is so busy at the moment with shows and art fairs it’s insane, but will get back to you asap about interrogating failed Utopias


My praxis … 

– is the handmaiden of Marxism-Leninism
– contemplates the void/ the sublime

– is riddled with aporia and mise-en-abyme

– concerns the potentiality of verticality

– believes that pleasure is a bourgeois tool
– reflects my self-reflexivity

– mirrors the Gaze

– is avant-garde
– is an unauthored piece of state propaganda
– interrogates gender

– is interested in simulacra

– struggles on behalf of the proletariat

– explores rhizomatic social network flows via net art

– is mired in class struggle

– believes that Theodor Adorno’s statement, ‘every work of art is an uncommitted crime’, is super-true
– relies on egg tempera
– doesn’t believe in money
– has embraced Rubens’s approach to line drawing
– is grounded in a long, skill-based apprenticeship
– woke up in the ruins of modernity but can’t remember how on earth it got there

Issue 151

First published in Issue 151

Nov - Dec 2012

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