Wave 2016, collage. This work formed part of a series, Bring Out Your Dead. As with much of my image based work, it is an attempt to examine the authority of the printed image and the narratives coded into them. The use of found imagery produces both a sense of familiarity and one of unease: in the cutting and reordering there exists both a continuity and a disjunction with the world as it is imaged. It allows, through the physical act of reassembling, time slippage and the questioning of representation, hierarchy and power.

Southside Cinerama presents How The West Was Won (MGM 1962) A site-specific installation, involved converting the space of the ubiquitous tenement bay-window in a living room into a Cinerama screen. The film chronicles the fate of a family of pioneers as they cross the American West and brings the narrative, in the soaring finale, to contemporary America- complete with scenes of traffic jams, skyscrapers and industrialized farming. Although in many ways of its time, the film begins to make a tacit nod to a more progressive understanding of the American origin story, with allusions to the mistreatment of Native Americans, the plight of women and the excessive behaviour of corporate America.

This work took place as part of Glasgow Open House Art Festival, 2017. The festival sees artists open their homes and other non-gallery spaces to the creation of work and events.

Memorable eating part of a group show at SOIL Gallery, Seattle USA 2014. This deck of cards with vinyl text took quotes from the guidebook to the Century 21 Seattle World's Fair of 1962, bringing the predictions of that event to the time of their anticipation- the 21st Century. The idea was that exhibition visitors could take the cards and so distribute them around the city. It was intended as a way to critique both the aspirations in the literature and the extent to which they emerged.

This work was part of Museum For An Imagined City in which a group of Glasgow based artist were asked to create visuals of their conceptualisation of Seattle, as a place they'd never visited.

above, When there are people, then there are none 2018, collage. Continuing a more experimental approach, mainly looking at how two pieces can marry. Below, Inks and solutions 2018 and, bottom, Direct hit 2018.

Bob and his British record 2017

Team work on the land

From 2016, Grief encounters versus the explosive world and vice versa, a collage consisting of two different versions of the one image found in two publications. One, the World Press Photo book and the other a photographic compendium of the twentieth century. Again as part of my collage practice, this work addresses the fundamental schism that separates the what we experience from the narrative coded into documentary of the same experience