"Y’Barbo works with technical, technological, evidently computer-generated imagery, speaking of the way we try to quantify and even commodify our lives. But he doesn’t argue against the computer's lack of humanity so much as he tries to humanize it, to bring it down – or up – to our scale.”

Peter Frank - Critic for the Huffington Post, Senior Curator at the Riverside Art Museum, and former Editor of THEmagazine Los Angeles.

Thursday, 1 November 2018

Research Abstract


While no account of art’s institutions can be complete without reference to the art school, the literature of institutional critique demonstrates a tapered focus on the museum. The term ‘art school’ is an anachronism often used within the UK higher education community. When I refer to the art school, therefore, I have in mind something like a Fine Art department of a university or an Academy of the arts in Europe. I will argue that the art school has been neglected by institutional critique, but it has not been entirely ignored by it. Kaprow (1967, 1968), Haacke (1971, 1973, 1976), Ramsden (1975), Rosler (1979), Piper (1983) and Fraser (1985, 1992, 2005) all go to varying lengths to discuss academia and institutions in terms of conflicting values taught and produced for public consumption in the museum. This treatment of the art school focuses either on the critique of art pedagogy defined by and reproducing the dominant cultural value received in the museum or the integration of institutional critique into the taught curriculum within the art school. While research linking institutional critique to art-academia during the waves of institutional critique exists, no single study responds to institutional confrontations by critically reflecting on the interdisciplinary roles, multiple sites and discursive material reproduced by the art school after art’s social, pedagogical turns. Existing research on institutional critique after the educational turn needs to be reimagined, I will claim, using the tools of what I will call interstitial pedagogy, which is teaching and learning that takes place between institutions and both inside and outside the curriculum. Interstitial pedagogy, I will argue, expands the framework of institutional critique by contesting the operations of the art school as one of the primary institutional sites of art's formation and reproduction. As such, this practice-led study contributes to the extension of the scope of institutional critique through a detailed critical evaluation of the techniques used in self-organised pedagogical situations devised and run by postgraduate students at Chelsea College of Art (2009-2016).

What contributions can a practice-led analysis of socially engaged art embedded in the art school and guided by critical pedagogy provide institutional critique?

Friday, 21 April 2017

Return to Printmaking and Design


I recently put information together on my printed practice for a show. I disregarded print during my postgraduate study at Chelsea College (2008-2010) and recently have returned to the driving force behind my social based creative practice.


Monday, 20 June 2016

Wednesday, 27 November 2013

Kupambana / Chelsea College Exhibition: Cookhouse

Hello All,

This month has seen two projects that i've been working on over the past 6 months come together. 

The first is 'Communicating Values' a Chelsea College of Art & Design / Kupambana Art Foundation Collaboration. The project aimed to create an exchange of dialogue between Lewis PR employees and students and alumni at Chelsea College. The culmina

First thing I have to say about this project is that I regret not giving the title more thought. It came out of back and forth emails as well as questions of value and value structures that had arisen within my research at the time of the start of this project. I think a more appropriate title would be 'Limits of Language' or maybe 'Do We Know More Together?' 

Anyhow, the 6 month project ended with what I thought to be a successful exhibition that showed what we'd been doing in our discussions with one another and also art practice based responses within groups.

The second project that i've been working on over the past 6 months was 'Not Knowing: APG / CCW / Chelsea Salon'.

I've post more details about this project here:

Saturday, 3 August 2013

Plasticity - Tropical Lab at LASALLE College of Art

The work posted below is in response to the theme of TROPICAL LAB 7 and took place between 24th July to 7th August 2013.

ECHO: The Poetics of Translation
Walter Benjamin once compared translation to hearing an echo in a forest. Such a 
metaphor for the act of translation suggests the sonic if not oral dimension of language 
and reminds us of the way in which there is a space between the original and its 
repetition. Translation then is a rich terrain of exploration for the arts. 
Tropical Lab 7 draws together student artists from all over the world, bringing them together to learn about Singapore and that of its neighbors. At the same time, it 
provides these artists with the opportunity to collaborate and work across the 
boundaries of country, bringing together differences. While, on one hand, translation 
allows for the discovery and creation of connections between two or more positions, it 
also makes evident a gap. This unbreachable gap reveals the limits of translation - the 
echo is not the original sound, and the copy is not the original. We see shadows, 
supplements or hybrids that appear to relate back to some point of reference and yet, at 
the same time, take on their autonomy and life after the fact.

The aims and objectives of TROPICAL LAB are to expand the views of the participants, 
to exchange experiences and to stimulate creative thinking through a collaborative 
approach. In addition, to create a positive environment that will stimulate and cultivate 
minds, imaginations, emotional (intuitive) consciousness and cultural sensibilities of the 
emerging generation of young artists and students.
At the same time, we are aiming to establish LASALLE College of the Arts as an 
institution that offers an environment for regional and international students to carry out 
research and advance their art practice in a short period. This will strengthen the value 
and potential of having a programme that is culturally relevant to a range of local, 
regional and international students. 

Wednesday, 24 April 2013

1st Year PhD Exhibition - Salon Adverts

Salon Advert (tree III)
digital print on raw canvas
50 x 50 cm

Salon Advert (tree IV)
digital print on raw canvas
50 x 50 cm

Above are two digital images that i had printed on raw canvas for a recent exhibition at Chelsea College. The exhibition was for 1st Year PhD Students who's research is practice-led. 

This is a tricky area for me as i mainly work in participatory art (creativity and learning through community engagement i.e. Chelsea Salon Series) which tends not to result in material objects.

However, these works were created as advertisements for the Chelsea Salon Series. I combined images of individual practices and documentation of salon events and the resultant images roughly take the form of a tree. The images were selected randomly with only the overall hue, colour and tone of the image as a uniting factor. The combination of individual practices can be seen to form a network - a networks that is based on interaction and creativity which can result in new relationships and ideas.

For more details on the Chelsea Salon Series, please visit www.chelseasalonseries.blogspot.co.uk

Bussey Building June 2012

3-D and 2-D work'. 
Some of the works in this exhibition concentrate
on the use of senses other than sight. This not only refers
to works producing or dampening aural sensations (a.k.a sound-art),
but to the 'clean' smell of detergents and the hotness of a heater.
How much are we willing or prepared to invest in a
work that is not only 'in front of our eyes'?
There are other themes emerging from the clutter of this seemingly eclectic mix of art work : “experiments” that might remind one of
high-school science classes, diy sound insulation that
could look like an empty canvas, collapsed cardboard structures that
could get more attention than the ones next to a bin, organised
detergents in the style of dot painting or a religious ritual,
painting and drawing a picture, buying a heater from Argos, 
mimicking a guitar body or stacking clay.The materials used reflect 
what is readily available.