2022
Collaboration with Dean Kenning at Project Space Plus, University of Lincoln. For a period of four weeks, Dean Kenning’s robots were installed in, and interacted with, a landscape of sessile structures. The viewpoint of the machines was relayed to video monitors positioned on the floor of the gallery space.
2019
A collaboration with Ron Haselden, Husk Space, Limehouse, London E14.
Constructed landscape shelf pieces. Plywood, gesso, pencil and glue (30cm x 30cm)
2015
Sculptural installation at Peltz Gallery, Birkbeck, London, 2015. This work evolved from a collaborative conversation with Dr Gabriel Kourias who was writing about gender and the figure of the terrorist. The individual pieces were all made from painted cardboard. The shapes were constructed from photographs of car bomb wreckages from Britain’s so-called ‘Small Wars’ of the latter half of the twentieth century. The attempt to reconstruct a three dimensional object from an indistinct photograph was part of the intention of the project, allowing space for misinterpretation, error and inaccuracy in the interpretation of the historical document.
2011
Acrylic paint and photographic ink jet on paper, 2010. A series of works produced for an exhibition at Stephen Lawrence Gallery, University of Greenwich taking their title from the 19th century speculative fiction novel by Richard Jeffereys, who lived in Greenwich. Sections of local ground were photographed with a 5×4 Large Format technical camera. The transparencies were then digitally scanned. The outline shape of the Thames river was mapped onto these digital files as an erased area. The image was then printed and the erased portion painted over. The work arose from conversational collaboration with art historian Joy Sleeman about the role the River Thames plays in apocalyptic narratives. The exhibition, which took place in 2011, also featured a discussion panel with John Timberlake, Joy Sleeman and writers Will Self and Matthew Beaumont
1994-2022
During the 1990s Everything was a barometer of the contemporary art scene in London, featuring transcript interviews, writing, visual art projects and book reviews by a range of well known artists the magazine was supported by the London Arts Board and Arts Council England. Embodying the prevalent aesthetics of its epoch, each volume saw the magazine appear in a different form. John Timberlake was a member of the magazine’s editorial collective from 1994 until its demise in 2002.
1993
Two paintings were made as part of an installation organised by the collective BANK in a derelict bus garage close to the site of what is now the Eurostar terminal, in August 1993.
