I live in the UK, currently in London. I make live art, performance lectures, artistic interventions, digital installations, online and real world participatory experiences and live role-playing games, often focusing on communities and audiences outside of conventional gallery or performance spaces. I’ve also exhibited and performed throughout the world in theatres, festivals like London Data Week, CPH:DOX, ISEA and La Biennale di Venezia (AKA Venice Biennale), and art galleries like Photographers Gallery in London, Kunstal Charlottenborg in Copenhagen, the Open Data Institute in London, Tate Liverpool, MUSAC Léon, Art on the Underground, Detroit Institute of Arts, Wysing Arts Centre, FACT in Liverpool, OCAT Shenzhen, and many many many more.

I like folklore, magic*, silly costumes, museums, absurdity, the uncanny valley, doing things that help people think, improving the world incrementally, and making machines and systems do things their creators wouldn’t approve of. The latest updates about my work are in the Blog/News section, or scroll down this page. Linktr.ee for shortcuts to other, offsite stuff. Contact me using this form. Apart from my native English I speak (in descending order of competence) French, German, Japanese and Mandarin Chinese, with fragments of others like Norwegian or Welsh. I’ve done some of my shows in these languages, and would love to do so again.

* click for footnote on magic

Alan Moore: “I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness… The Bardic tradition of magic, when satires were justifiably more feared than curses and when the creator was respected as a powerful magician rather than as someone getting by out on the fringes of the entertainment industry, is one that today’s artists, occultists and writers would do well to reacquaint themselves with. You can kill or cure with a word. Get off of your knees.”

I’ve collaborated extensively with scientists and technologists, particularly in the social sciences but also in fields as varied as genomics and cybersecurity. The list is getting long now but includes Bristol University, King’s College London, University College London, University of Edinburgh, and University of Cambridge. I often use scientific and academic research methods in developing my projects, and also as part of my other art-adjacent work as a researcher*, educator, producer and activist in livelihoods, equity and access for artists from marginalised groups, especially LGBTQ+ artists, disabled artists, self-taught artists and artists from low income backgrounds… just like me. Sometimes I use the same anthropological and ethnographic approaches satirically and pataphysically in my art work. * (Mainly qualitative, but I can do numbers too… for a “fun” convo ask me about my data analysis uncovering via two independent surveys the fact that about 50% of UK disabled artists have experience of homelessness.)

Now, and next…

November 2025: I’m artist in residence at Bristol University’s ESRC Centre for Sociodigital Futures until June 2026, where I’ll be collaborating with researchers to develop an exhibition for next summer. What’s a sociodigital future? To me anyway, it’s a future where the digital is bound to the social (just like it is in the second or third-worst timeline we live in presently), but where technology makes society more equitable, safe, healthy and joyful instead of just making psychopaths rich.

October 2025: More photos from two of the micro-festivals I staged this summer in Coalville, in the National Forest in Leicestershire. I’m still working on the project with people with aphasia and the Informatics Department at King’s College London mentioned below. There should be some results from this project in December 2025 or January 2026.

Late August 2025: New images from my micro-festivals in Coalville, in the National Forest in Leicestershire. Official photos are up, and a short film about the project is coming towards the end of the year.

July 2025: My micro-festivals are finally happening, on 20 and 21 August 2025 at various sites around Coalville, in the National Forest in Leicestershire. Each has a series of activities and games, along with a limited edition fanzine for each one… so four to collect!

June 2025: I’ve started working on my micro-festivals for the National Forest in Leicestershire; these events are coming up in August 2025, along with some nice zines about the history of plastics, deforestation and reforestation in the East Midlands. There are Action Men, there are Care Bears, there are tiny forests… I’m working with the Informatics Department at King’s College London and support groups for people with aphasia (speech loss from brain damage) on a project that aims to rethink interfaces and communication with public services in a more humane and productive way. It’s funded by the EPSRC via IN+, their inclusive digital economy network. I recently finished working on a performance and community arts company’s environmental sustainability policy, rider, and action plan, which I’ll share more of when they publicise it themselves. As always, more images and information will be here when it’s in a shareable state. Unbuilt Environments is featured in the new Creative Freelancer’s Climate Almanac by Hannah Graham and Farah Ahmed at Julie’s Bicycle.

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Highlights of my career so far include the publication of two novels, being artist in residence at the University of Edinburgh’s Genomics Policy & Research Forum, exhibiting my films at La Biennale di Venezia, being awarded the Berwick Gymnasium Artist Fellowship by English Heritage and Arts Council England, everything I’ve done in Japan (日本は私の好きな場所です！ 私が帰るように私を招待してください…), being artist in residence at the Open Data Institute in London, making work with some communities and collaborators over the course of many years, researching and building DoxBox trustbot, and most recently working in East London on a UCL commission, the video installation Unbuilt Environments about disabled peoples’ urban utopias and dystopias.

I’ve been an artist in residence in England, Scotland, Wales, Norway and China: always a properly paid and supported artist in residence, incidentally, not the type you pay for yourself which is just going on holiday really, isn’t it? Not that I don’t like holidays. Maybe I’ll have one someday. I also accidentally set up the planet Earth’s number one online source for the full and unexpurgated erotic letters of James Joyce. Subsequently exploited for clicks and clout by everyone from the Paris Review and The Guardian to Buzzfeed and Funny or Die, not to mention a “performance maker” who got a whole show at a London theatre out of it without a word of thanks or acknowledgment, which really takes the piss when that’s my job and there’s literally only one place they could have got the material from. You’re welcome, Earth. I’m still glad I did it, though.

Many of my projects are the result of extensive research in particular places, subjects and communities, sometimes over the course of many years. Read a 2011 interview with me by fellow writer and artist Iain Aitch here or one I did in 2014 for the exhibition Lecture-Performance here.

I was a founder of Market Project: professional and economic research by artists (2010-2013), which was funded by Arts Council England. Until the gallery’s closure in 2012 I was an Associate Artist at ArtSway, having worked with them in various capacities since 2002. For most of my career I’ve worked collaboratively with other artists, writers, designers, actors, architects, scientists and audiences and I still do. I constantly seek new opportunities to make, exhibit and talk about my work, to perform or do readings, and to forge new and lasting connections with interesting people or places, so I really welcome enquiries and communication.

I used to post regularly on Twitter until Nazi Space Karen ruined it and filled it with fascists. I’m now on Bluesky instead. You can also contact me via the BIO/CV menu at the top of this page. My critical writing about contemporary art has been published by Axisweb, Artquest, Disability Arts Online, Unlimited, a-n, Garageland, The Guardian, and Sluice magazine; I’ve written a column about artist-led spaces and the independent/non-profit sector of the arts for every single issue of Sluice since it started!