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january exhibitions

Posted on: January 16th, 2015 by libby


Point B

With Christmas (and my dissertation) now well out of the way, it's good to be back making art exhibiting again.  For you people stateside, I have a print in a group show of international artists at Point B work lodge on Nth 7th St in Williamsburg opening next Weds 21st Jan.  I spent an amazing month at Point B last summer, during which time I was tinkering with digital art and learning how to do some neat things with the Kinect.  The work lodge is closing soon so this is a great chance to look around (it's a fabulous space!) and to meet Mark and other Point B alumni.  I wish I could be there too!

Back in London, we have the Big Space show part IV next week at CSM KX.  Last year I exhibited The Markers in the same show and I'm really happy with how far my practice has come since then.  This time, I'll be presenting an interactive installation that questions how we view art digitally.  The Big Space show is opening on Weds 21st Jan and runs through to Friday 23rd Jan.



Some of my digital prints are part of the Made in Arts London Christmas Collection.  They're quite different to my previous work, so I want to tell you the little story behind them.

In the build up to my solo show Computation Cloud (above, November 2014), I was experimenting with virtual versions of the installation.  This involved making animated interactive 3D models of the piece, and pixellating appropriated images to provide a colour scheme for the octahedrons.  Since I was bringing the digital world to a physical setting, I really wanted to use bright colours to attract viewers towards the piece and also to have a painterly handmade quality to the elements.  In the end, my intuition led me to the following image as a basis for the elements in Computation Cloud.

Untitled (Ackerman deconstruct)

It is based upon a painting by Franz Ackermann - one of my favourite  painters - whose work has been described before by Daniel Birnbaum as "as random as those phantom particles whose position or speed may perhaps be known, but never both at once".  The image was pixellated using one of my original programs to give a digital aesthetic to the installation.  I see this pixellating process as quantising the work - in doing so, I'm deleting information about the state of the original art work, literally lowering its entropy.  And I love the result: blurry digital fragments of an already hyper reality lurk in amongst the triangles.  The image above was printed in an edition of just three and there is still one available (email me if you are interested!).

My prints available via Made in Arts London are an extension of this work.  I wanted to see how Computation Cloud would look when people were interacting with it.  So I programmed my app to randomly change some of these triangular pixels to white (as happened in the installation itself).  These are a few of the outcomes.  Each print is unique as the computer ensures no two are the same.

Untitled 4

Untitled 2

Untitled 3

Untitled 1

I also have a few lovely animations of these images deconstructing over time and a time lapse of Computation Cloud itself, which I'll try to post very soon.

Happy Christmas folks x

work in the Lethaby Gallery with Made in Arts London

Posted on: November 18th, 2014 by libby


After the whirlwind that was three shows opening in three days last week, i'm very happy to take a step back and see my work presented in a new context, with other artists and designers from Made in Arts London at the Lethaby Gallery from this Thursday.
This will be my first show with MiAL and I've super excited to meet the other artists and see their work.  Hope to see you there for a glass of wine on Thursday evening.x


"Made in Arts London at The Lethaby Gallery

20th November - 1st December

Central Saint Martins, Granary Building, 1 Granary Square, London N1C 4AA

 Private View - Thursday 20th November 6pm - 8pm


Opening Times - Monday - Friday 10 - 6pm and Saturday 12 - 6pm
Made in Arts London is a not for profit enterprise that sells and promotes art and design by current students and recent graduates of University of the Arts London. MiAL offers the chance to support London's emerging talent and be the first to discover a new generation of creatives.

This exhibition at Central Saint Martin's Lethaby Gallery showcases a diverse range of UAL artists and designers who are are represented by Made in Arts London. All the pieces displayed in this exhibition are available for sale. When you buy from MiAL you are not only investing in and providing invaluable support for the art and design stars of the future, but making an investment for yourself. 

MiAL demonstrates the importance of promoting new, unique and exciting work coming from Europe’s largest specialist arts and design university. Made in Arts London is an initiative of SUARTS, the Students' Union of UAL."


The Markers

The Markers, 2014

november exhibitions

Posted on: November 10th, 2014 by libby


it's been a busy few months playing with motors and working with painted polyhedrons and this week i'm happy that my installation Computation Cloud is finished and ready to go.

the private view is on friday and the show will run for a week at the UAL High Holborn site.

computation cloud

if you can't make it down to Holborn for this, i have digital prints from the preparation of computation cloud in a group studio show at Elthorne studios in Archway this Wednesday running until Sunday and also in the post-graduate auction at Central St. Martin's Lethaby Gallery Tues- Thurs this week.  i'm lot number #43 and the auction takes place on Thursday evening.

black box

ackermann deconstruct

common keys to the creative process in art and science

Posted on: August 28th, 2014 by libby


Earlier this year The Journal of Wild Culture asked if I could write a piece about navigating the edge between art and science and after playing with a few ideas here are some new words thinking about a possible bridge between subject and some ruminations about how the link may also help to extend the New Aesthetic.  Follow the link to the article here.

One of the art works I talk about is this floor sculpture, below, by Tauba Auerbach.



Huzzah! I'm super happy to have my work feature in Made in Arts London summer collection.  Check out my profile (and a silly photo of me) here.

god's dice


some photos from last weeks performance

Posted on: June 24th, 2014 by libby


Last week I performed 'Up and Downloading the Memory' at the BA CCC degree show at Central St. Martin's.  It was first time I had experimented with performance and it was pretty interesting to play the roll of the art object, even though I chose a tough time throughout the show to do this (at the PV while everyone else was getting drunk!) and I allowed the performance to last for over two hours (until all the words in my mind had 'dried up'...).  It was fairly hard going.

While I didn't use my body as such, it was the interconnectivity between my voice and my laptop (google) that became the art object.  Since I am interested in interactive art in any case, being on the receiving end of the viewers attention helped me to understand how interactivity can be encouraged or disrupted.  For instance, it happened a few times that when I looked someone strongly in the eye and randomly uttered a dry line from the top hit page on Google in a meaningful way, the recipient felt uncomfortable and moved away.  On the other hand, when I was softer and perhaps more playful with the choice of words, I could engaged with the audience in a different, more intimate manner.  I'm hoping that I can use these findings to understand how I can more effectively engage the audience with interactive objects and installations.  Furthermore, I would like to try incorporating a performative element into interactive installations in the future to develop audience participation.

See this previous blog post, for more details about the concept behind 'Up and Downloading the Memory'.

Here are some photos from the show all credited to Viv Du.


Prof. Vlatko Vedral and I have previously worked together in academia, but we now pursue very different aspects of quantum physics.  We are both now exploring the possibilities in new territories forming between different areas of our practice - for Vlatko it is new territory is between quantum and classical  physics (the classical systems can even be biological ones),  for me it is the new territory between quantum physics and art.

In September, we will both be talking about our respective practices at an Ideas Matter Sphere event.  For more information and to book tickets, please follow this link.


Earlier this year the BA Culture, Criticism and Curation course at Central St. Martins asked the first year MA Art and Science class to create some art work in response to an essay by Asimov of 1964, envisioning 2014.  The show was split into 6 categories and I was assigned to work in the Memory and Repetition category.  My interest in technology then led me to think about the ongoing integration of biological and synthetic memory...

The integration of biological and synthetic memory in fifty years time.

Already, the rise of the Internet has changed the way we learn and store new information.  Rather than having to learn facts by heart, semantic memories – a structured record of known facts that are independent of personal experience – can be accessed almost instantly using our laptops and iPhones.  This integration between biological memory and synthetic computerised memory is only going to increase.  Experiments have been undertaken that have shown how existing memories can be uploaded to the Internet and new memories can be implanted[1].  In fifty years, it is likely that our brains and the Internet will be ‘hardwired’ together in some form that is not yet imaginable.


My performance piece, "up- and down- loading the memory" explores these notions.  Performance art is intrinsically connected with memory in the sense that in its ideal fashion it is ‘representation without reproduction’.  Hence ‘ without a copy, live performance plunges into visibility... and disappears into memory, into the realm of invisibility and the unconscious where it eludes regulation and control’[2].   I believe that rather than trying to fit a given theme into my usual working practice of interactive sculpture and installations, I should adapt the media to best represent the concepts that I am trying to convey.  And so, after lots of reading, the following performance piece was conceived.

"up- and down- loading the memory" will be inspired by Marina Abramovic’s performance ‘Freeing the memory’ (1975), during which she went through the process of forgetting and cleansing herself of acquired language by reciting all the words stored in her memory.  Taking this as a starting point, I am interested in how I can create an internet-linked stream of consciousness expressing the ideas described above.  My performance will take place in two stages:

Firstly, prior to the exhibition (16th June at 9pm), I will ‘upload’ my existing memory to the Twitter account  In the spirit of Abramovic’s work, I will endeavour to keep tweeting words until no more come into my head, which will signify the end of the performance.   I am intrigued by how the audience will be present for this stage of the performance – rather than it being physically present they will be a virtual audience online.  Traditionally, performance art has been documented via video or photography, whereas in this case a record will be permanently available on the Internet and will be exhibited on an iPad throughout the show, 18th - 22nd June.

Secondly, I will then ‘download’ a new memory on the opening night of the show, 17th June.  For this performance, I will repeatedly Google words as they randomly come into my head and read out aloud the first line of text under one of the top hits.  I love the idea of creating a narrative controlled by my brain but whose content comes exclusively from the internet.  The performance will continue until I have run out of words or until the show closes for the evening.

The private view of the BA CCC degree show 'Hysteron Proteron' is 17th June and it is open to the public 18th - 22nd June at Central St. Martins, KX. 

[1] For example,

[2] From “Marina Abramovic   - Artist body – performances” 1969 -1998 Charta (1998). Pg 32.

it’s the last week of the spring term at CSM…

Posted on: March 19th, 2014 by libby


After our Interim show at the Bargehouse, I have decided to plunge right into a new project (I have to make the most of the workshops before Easter, you know).  I have challenged myself to make 100-200 10cm sized tetrahedrons in a week.  I will then use them in a new piece trying to capture the concepts in ‘God’s Dice’, in a purely sculptural way - through form and material only.    Obviously I have not learnt from the mild craziness that set in while I was creating my last piece a couple of weeks ago.    But now I am trying out a new method of ‘mass’ production and already after two days I have produced 45 of the little bad boys (+ 1 I gave as a gift to a workshop regular) so I think I will meet my target.

Last Import - 21

Doing intense, repetitive work has got me thinking about what it means in terms of my artistic practice and I have resolved that this work has turned into both a game and a performance (as well as the obvious nod to mechanical factory labour).


The game. 


When doing repetitive work, one tries to find many strategies to avoid a descent into boredom.  For me, it has been about trying to see how many pyramids I can build in an hour.  A simplistic game that has surely been used to get children to do menial task since the beginning of time, there is something strangely satisfying about trying to beat a personal record. My current record is 15… I’m not sure there will be much improvement from there.


The performance.


Now let’s say I could make 20 pyramids in an hour.  That means I would require 80 triangular pieces of wood each involving 3 cuts.  In total I would be making 240 sweeping gestures an hour with the circular plunge saw.  In addition, I am flipping over the wood each time I make a new triangle.  This lunging and flipping could be interpreted as some sort of ritualistic dance, or perhaps the early stages of learning a new, unusual martial art.

Last Import - 22

You all know how I like to relate my artwork to physics, so in terms of a well known system, I can declare that I've become a driven pendulum, oscillating back and forth.  The movements of my body refers to circular motion, to the orbits of the planets around the sun or to the energy levels of electrons around an atom’s nucleus.




In the end, I will have a collection of seemingly identical tetrahedrons that are marked by small imperfections that come from working quickly.  These imperfections are in fact a sign of my hand – the artists hand – and are demonstrable proof that each individual piece of the eventual puzzle has been created in this bizarre ritualistic ceremony and not by the arms of a robot on a production line.

Last Import - 23

What does this all mean?  Well the process of making and the conception of art are just as important as the final outcome (if one does even exist).  The fluid nature of my movements during the making process are prophetic of the envisioned wavelike nature of the eventual piece.  To align this statement to ideas in my general practice, I see my movement now as correlated to the form of the outcome later on.