Solo Exhibitions
Leeds City Art Gallery. Labyrinth. Autumn 2007
Gallery, Art Institute, Bournemouth. Text and Work- The Trouble With People. 2005
Skule - School House, Hersvik, Norway. The Land That Forgot The Time or The Time The Land Forgot. Exhibition/residency. 2005
Kunstpunkt, Berlin. Harmless. 2005
Forever and a Day Buro, Berlin. Crooked Man. 2005
Margaret Harvey Gallery, St. Albans. Monumental Sculpture. 2002
Aggregat, Berlin. Stormy Weather Studio Cafe. 2002
Michael Cosar Gallery, Dusseldorf. 2002
Dean Clough Gallery, Halifax. Hat. 2001
CSKX, London. Projection Project. 2000
Dominic Berning Fine Art, London. Over-Kill. 1999
Michael Cosar Gallery, Dusseldorf. 1998
181 Gallery, London. Outer-Space. 1994
Leeds Artspace, St. Paul’s Gallery, Leeds. 1987
Wakefield Arts Centre, Yorkshire. 1986
Selected Group Exhibitions
Event Gallery, London. Black Box. 2006
(Including Matt Hale, Lela Budde, Nicky Hirst, Peter Suchin, Liane Lang, Jake Kosciuk, Peter Lewis, Vibeke Jensen)
Danielle Arnaud, London. Outdoors. 2006
(Including: Orla Barry, Marcel Broodthaers, Gordon Cheung, denzil Forrester, Oona Grimes, Ian Hamilton Finlay)
Kunstpunkt Gallerie, Berlin. Five Years. 2006
(Including: Stefan Beuchel, Reinhart Buettner, Karen Koltermann, Karsten Korn, Nuno Cera, Susanne Lorenz)
General Public, London/Berlin. Home For Lost Ideas (exhibition and publication launch Berlin). 2006
(Including: Sophie Calle, Jonathan Monk, John Baldessari, David Shrigley, Jonathan Meese, Olivia Plender)
Kunstraum Kreuzberg, Berlin. Horizont. 2006
(Including: Andre Butzer, Ben Cottrell, Maggie Hills, Christiana Gliden, Katrin Plavcak, Andrew Gilbert)
DiVA, Video Art Fair, New York. (Michael Cosar Gallerie, Dusseldorf) 2005
Kunst Klub Köln. No Brown ShoesAfter 8pm. 2005
(With Ben Cotrell, Martin Durham, Ingo Gherken, Paul Hopton, Wolfgang Plöger, Vanessa Wood, Dominic Wood)
New Art Centre Sculpture Park & Gallery, Roche Court, Salisbury. Domestic (F)utility. 2004
(With: Anya Gallaccio, Lisa Milroy, Nina Saunders, Gavin Turk, Emma Woffenden, Geroen Krebber, Koichiro Yamamoto, Barnaby Barford, Fernando Casasempere)
Galleri F15, Moss, Norway. Tendenser 2004. 2004
(With: Enrico David, Kjetil Berge, Jean Gid Lee, Ann Knutsen & Erik Assheim, Janne Nes)
Forever and a Day Buro, Berlin. Works on Paper. 2004
(Including: Andre Butzer, Ben Cottrell, Anna Fasshauer, Frederick Foert, Andrew Gilbert, Christiana Glidden, Mariola Groener, Thilo Heinzmann, Stefan Kaminski, Paul McDevitt, Katrin Plavcak, Sean Reynard, Marcus Selg, Astrid Surkova, Dominic Wood, Venessa Wood, Bara.)
Kunst Salon, Berlin. Pugh Pugh project: House. 2004
(With Frederik Foert, Ingo Gerken, Antonia Low, Birgit Hoelmer, Lars Sture, Paul Hopton)
Pugh Pugh, Berlin. Trouble. 2004 (With Paul Hopton)
Mathias Kample Galerie, Berlin. Laut-los. 2004
Cosar Galerie, Dusseldorf. Portraitists. 2003/4
(With Bjorn Dressler, Christian Muller, Oliver Sieber)
Danielle Arnaud, London. Sense&Nonsense. 2003
(Including: Marcel Broodthaers, Sandra Cross, Jean-Phillipe Defaut, William English, Ian Hamilton Finlay,
Nicky Hodge, David Lamelas, Susan Morris, Perry Roberts David Robilliard, Rombouts & Droste, Gerry
Smith, Walter Swennen, Jack Vandermissen, Angel Vergara, Bernard Villers)
Dominic Berning Fine Art, London. Hope Springs Eternal (roof installation) 2002/3
(With Andrew Holligan and Eline McGeorge)
Aspex Gallery, Portsmouth. Double Take. 2001
(With Layla Curtis, James Ireland, Helen Maurer, Elizabeth Wrigh)
Bury St. Edmunds Gallery. Art Textiles, UK Touring Exhibition. 2000-2002
(Including Shizuko Kimura, Sue Lawty, Sally Morfill, Andrew Timms, William Jefferies, Shelly Goldsmith)
Other Art Textiles Venues: Harley Gallery, Welbeck; Northern Gallery for Contemporary Art, Sunderland; Shire Hall Gallery, Stafford; Mercer Gallery, Harrogate; Museum of Science and Industry, Manchester; MAC, Birmingham; Collins Gallery, Glasgow
NGBK/Kunstlerhaus Bethanien, Berlin. Dia/Slide/Transparency. 2000
(Including Beat Streuli, Michel Verjux, Nina Sidow, Kathe Kruse, Mischa Kuball, Mark Kubitzke, Anton
Henning, Stefan Hoderlein)
Manchester Film Festival, UK. 2000
Bonner Kunstverein, Bonn. Video Nights. 2000
Watershed, Bristol. Lab Culture. 1999
Lisbon Video Festival, Portugal. 1999
Pandaemonium Film and Video Festival, LUX, London. 1998
Het Consortium, Amsterdam. Soon. 1998
Underwood St. Arts, London. Soon. 1997
(Including Dan Hays, Dermot O’Brien, Cornelia Parker, Juan Cruz, Alex Landrum, Matthew Thompson)
Artaque, Karlsruhe, Germany. House no Garden. 1996 (With Claudia Schmake)
First Site, Colchester. Love at First Site. (Dream Home commission) 1996
(With Rona Lee, Jordan Baseman, Julie Myers)
CSKX, London. House no Garden. 1995
(With Gregor Schneider, Terry Smith, Monica Bonviccini, Nicky Hirst, Claudia Schmake, Sebastian Lowsley Williams, Karl Blossfeldt)
Antwerpenerstr. Cologne, Germany. 2 Person Show 95 (With Claudia Schmake)
Whitechapel Art Gallery, London. The Open. 1996
Stadkunst, Cologne, Die Anziehungskraft des Bezueglichen. and Kunstlerhaus, Dortmund, Germany. 1992/3 (With Antje Hassinger and Yvonne Meissner)
Projects/Events/Commissions
The Art House/Creative Partnerships, South Yorkshire. Public Art Commission. 2004
(Production of Banner to Commemorate the 1984-5 Miners Strike and the Mining Communities of Barnsley.
And a series of Light Projections on St. Mary’s Church, Barnsley.)
Hotel Nazione, Jeselo, Venice, Italy. Hotel room design (commission). 2003
Habitat Gallery, Tottenham Court Rd. London. Leo-Tat (commission). 2002
Serpentine Gallery, London. Heatwave Festival; Raise the Shadow, performance collaboration with the Handsome Foundation. 1992
ICA, London. Raise the Shadow, performance collaboration with the Handsome Foundation. 1992
Chisenhale Dance Space, London; Performance Project Organizer, Found Wanting, with
Andrew Davenport and Kate France. 1990
Vor der Information, Issue 1, (Austrian Magazine);Photo story, Road Movie. June 1994
Wakefield 100 Festival. Wakefield District Council. Artist in Residence, production of temporary public works. Summer 1988.
Leeds TUC Unemployed Centre Mural. Collaboration with Nicky Hirst. 1986
Mosaic Design, Princes Square, Glasgow. 1986
Residencies
Skule, Hersvik, Solund, Norway. 2005.
Stiftung Starke, (Starke Foundation) Berlin. 2003
Lab Culture, Digital Media Artists Residency, PVA, Bridport, Dorset. 1999
Trinity Arts Centre, Tunbridge Wells. (Hope Springs Eternal). 1992
West Yorkshire Public Arts, 'Wakefield 100 Festival'. 1988
Awards/Prizes
British Council Award to Artists Exhibiting Abroad. 2005/2002/1998/1995
London Arts. Artists Award, Project Development: Labyrinth. 2002
London Arts. Artists Award. Research/Development: Stormy Weather. 1999
Eaton Fund for Artists Award. 1995
Groups/Societies
Leeds Art Space Society 1986-89.
Angel Studios, London, 1989-90.
Founder Member CSKX Studios, London, 1990-2001. (currently inactive)
Founder Member Pugh Pugh, Berlin, short term studio and project space, 2003-04.
Project 1
Walton Junior School, Wakefield (age 7/8)
Video Project “The Bully”. 2006
The aims of this project were, from a creative perspective to introduce a multimedia approach to working in schools and to encourage collaboration and teamwork. From the subject perspective, the theme of the bully was taken to address the ever present possibility of bullying in schools, which at this time was a concern within Walton Junior School and which the class teacher, Julie Purdy, wanted to address through a creative rather than confrontational approach. The project was a collaboration led by Julie and myself, with the aim of encouraging the children, working in teams, to bring their own knowledge and experiences to develop stories that took a positive approach to dealing with bullying and particularly the bully, to be made into short videos in which they would all be involved.
Having previously worked with light projection and shadow theatre to encourage a multi media and diverse approach to making in schools, here I wanted to explore the possibilities for using video and all the elements which go into the creation of a short film. The project, because at this time I was moving between London and Berlin, was to be developed for the most part at a distance (except for the filming of the videos). After initial discussions and a meeting with the teacher we then corresponded via the internet and telephone. This added an interesting dimension to the project for the children, who then had to e.mail their ideas, notes and keep ‘the foreign correspondent’ informed of how the work was evolving, which I then replied to with suggestions and encouragement.
The children were organised into five groups of five with the intention of the groups working collaboratively on all parts of the project. The work structure was introduced by Julie, using information supplied by myself as well as from her own research: discussing story ideas and writing a story; developing this into a simple script and storyboard; using the storyboard to build on other developments and ideas; considering sounds, music, costumes, make-up, titles; rehearsing. Part of the development period was to encouraging the children to watch films or TV in a way as to consider how they might be made, watching in an active way, to relate the development of their stories to what they were seeing on the screen, completed works.
After around one month of project development, through keeping up regular contact with the class, I visited theschool for two days. I firstly introduced the equipment to be used and how we should approach the filming. Next were screened a number of clips from children’s films and TV programmes illustrating simple actions and camera work - while corresponding with the different groups, as mentioned above, I had encouraged the children to watch programmes with a view to understanding how they are put together - positioning of the actors, cameraangles, use of sound - in the introduction I wanted to illustrate a number of simple techniques we could employ. The groups then in turn described their productions; we visited the filming locations with their storyboards and scripts and together discussed what would be needed and how it should be done.
The next part was to begin filming the videos, each group performing their productions, assisted when necessary with children from othergroups as ‘extras’. In part because of the limited time available but also because we thought it important to include all the children in the videos, I managed the camera. The editing, which had to happen away from the school, I also conducted myself using the scripts and storyboards produced by the children for my direction.
The aims of this project are to introduce a broad and inclusive approach to working, employing a variety of techniques and media within one project; to encourage collaborative activities and to help students understand how things are put together, productions built – which would be similar in a theatre, film or TV production, and to encourage a positive and active role when watching television and films. To understand through participation, how a story can be developed through discussion, then pictures, toward a performance and a video, and to enjoy the making and take pleasure in ones achievements.
This project was in part a research project for Julie and myself, we were both interested to find out if such a project could be undertaken successfully with this age group and if it could be developed at a distance. The amount of time invested in the project by Julie and her willingness to carry out her own research into an area new to her, meant the project developed quickly and well, the extra dimension of having to correspond via the internet became a very positive aspect of the project, particularly for the children. Due to the organisation of the event, when it came to the making, the children were all very well prepared, they were able to instruct me, they knew their lines and understood their roles.
What would have added to the event would have been able to spend more time during the production to enable the children to work with the equipment, because of the intensity of the production days the children were only able to direct my camera actions and act out their performances. This in itself was an achievement, all the children collaborating to bring their productions together and assisting other groups when they were able to, without too much overexcitement!
LEO.
Project 2
Fulstone School, Barnsley (age 11/12) – Shadow Theatre Workshop. 2004Project Description – News Stories.
During the spring of 2004 I was commissioned to work at St. Mary’s Church, Barnsley by Creative Partnerships based in South Yorkshire. As part of the project I was associated with Fulstone Secondary School, Barnsley, where I was to introduce my working approach and run a workshop, the theme of focusing on the artists approach to making work was being used in this and other related residencies organised by Creative Partnerships at this time.
I decided for the workshop to use the format of a Shadow Theatre production, an approach I had begun to explore in workshops originally with two schools in Portsmouth while exhibiting atAspex Gallery. For Fulstone School I decided to encourage the development of narratives through finding articles in local and national press, combining these with personal news (school, family, local), to develop a News Story. The children worked in groups of five (five groups),reading the papers and cutting out interesting stories to collect information. They were then encouraged to combine these with there own ideas to produce one narrative.
From here the stories were developed into story boards and scripts, encouraging the children to visualize the ‘action’ and also consider the other element which make up the story; spokenword, sounds, music, time of day, weather etc. and to build these into the storyboard.
The nextstage was to take these ideas and to work out how to present them visually, as a Shadow Theatre performance. I introduced the method of presentation and a variety of ways to visualize their ideas; puppet making, objects, slides, costumes. Each group was given a projector and screen and encouraged to experiment with materials and themselves. The next point of introduction was to consider the sounds and narration they might need, this was approached as with a radio play, I wanted the participants to as much as possible make everything themselves that they would need to put on their events.
With this project the whole point was to introduce ways of working and developing ideas, collecting information, teamwork, seeing an event in its parts and being able, in a very simple and direct way, to construct and put these together. At the end of the four day workshop eachgroup performed their play for the rest of the class. The most important part of this project was in its production, for the participants to experience a diverse approach to making something, combining various disciplines, to work collaboratively and to experiment without there being aheavy focus on the final outcome.