Fan takes the idea of 'swing' and looks at it from the other end. Having some of the qualities of a fan but none of the relations with the world, what does that leave us with? And what is the function of the image of a non-functioning thing?

A 4 minute film produced for a screening at the Willesden Gallery. Looking into the gallery and then closer to the wall as if there were an image and then out of a non-existent window and then close up to the view out of the window. As we try to look closer at things the less we see of the world. You can't do both.

Part II of an ongoing, infinite series of works that replay / replace the space in situ. Mediation of the space or an element of it separates the space by one degree. The work returns part of the space to its origin, re-contextualising the place of the viewer and then adding the layer of a time gone, which is not so different to the time now. Nothing is ever the same twice.

This is something and nothing - the title identifies the object in the image in a way that makes no sense in its dislocation. The image reduces the object to nothing, as the actual object has a specific use recreated, in the space of display but of no use. Video works, when off, no longer exist but something remains. Here that something is an instant residual negative image on the screen and on the retina, in the longer term it is the memory of the image in your present day existence becoming filling in the narrative gaps.

A prison is a place where we put people who don't obey the rules. Where they are made to live by much stricter rules. People visit this prison and use audio guides which fills in the sound of the prison, prisoners and guards. It also tells them where to go and when.

See work #37 for a description.

Moving on from the idea of time being created by the viewer, the person within whom time exists through our own sense of the world I have become interested in the idea of something and nothing and reconstructing realities which are not possible in reality but are realities because they are there on the screen. But what are is their reality, is it what the viewer imagines them to be or is it what they are?

I woke up one morning with the phrase 'all the wars we have ever fought, ever' in my head. I turned it over, had a look at it, underneath it, all around it and thought that it was not something that I could possibly begin to address. So I began to think about how it might have got there from the work that I was doing and what it actually meant as a phrase, in terms of the words, the attitude, the phrasing and the scale of it.

Movement generates narrative; narrative generates time; time generates structure. The time stops and slides to the next screen and restarts, making the viewer move along the screens, moving over the movement, involuntarily. Eyes moving as if on a train leaving a station. Being made to move against your own will makes us aware of ourselves as we follow the narrative of the work.

The train never leaves and never arrives. Frogs, when they are watching for prey blank out the areas where nothing changes. They only notice movement, so the viewer focuses on the train, wondering when it will ever stop moving, or leave, or arrive. When a train comes in or goes out it is the market of an event, the beginning or end of a journey. This journey has neither a beginning nor an end; just anticipation.