A Thousand Yard Stare [2024]
110mm x 178mm, 20 pages
A collection of poems, found text and notes-to-self. A Thousand Yard Stare is a semi-autobiographical account of emotions frozen in time with a sense of introspection and contemplation. A sequel [sort of] for Canto [2020].
Available on request.
Sally Webster Dinners [2024]
148.5mm x 420mm
A problematic scale for an exhibition opening, hard to juggle with a glass of wine. A collection of poems, continuing to mull it over and attempting to swerve wooden language.
Falling out of Infinity [2022]
110mm x 200mm / 8 Pages / On 90gsm printer paper
Self-published collection of writing.
Paradoxical moments in vast eternity, suspended in existential uncertainty. Falling into a neural engine, a machine plasticity in junk, as in surplus. A drawing of a box containing sound recordings of its own making. Throwing voices out of one context and into another.
Pamphlet available by request.
Canto [2020]
14.8cm × 21cm, 115kb, 16 pages, unlimited PDF available on request
Published as part of 7.45 Books Kippenberger Challenge [2019-20]
Mulling-it-over, reading aloud, accented speaking. These texts may be read and heard on infinite loops. Canto: Volume 1 is the first of two short cycles of pseudo-poems written between May-October 2019. Each stanza is intended to drift into, arrive at or tend towards; a poetic form in response to things that are incidental, prosaic or momentary. Others are long term observations. Some are unseen but felt. Out of the context of these short texts, the words or sounds should melt away to be reused, misused or repurposed. The sound of the words in relation to the theme of the text, or how a word's form or meaning might intervene into the content of the overall piece of writing have dictated their grammatical and audible structures. Each text like the form of the book, has been refined over time with the intention that some may tend towards noumenal qualities and/or have almost-not-there, infrathin values.
This volume also exists as an audiobook/studio companion which is read by Harry Frost.
Teh [2021]
17cm x 10cm, 90gsm paper, 12 pages, edition of 30, available on request
Published as part of 7.45 Books Kippenberger Challenge [2019-20]
Swerving teh machines' wooden, mechanical language. Teh text is grammatically correct but it lacks clarity and sounds dull. This is teh real me, live. Teh most innocuous mistake. Abundant and uncontrollable, it is teh product of my urgency to pass thoughts. Teh proof that I am who I say I am. An involuntary product of learning to speed-type on MSN. A future friend. Disengage teh spell-checker. Lamentable homogenised language.
A pamphlet of 12 pages to be printed on a workplace or home printer onto any three colours of paper.
A Sub-Par Translation [2021]
A-Format [110mm x 178mm] 32 pages & double sided insert. Laser-jet print. Typeset in 12pt Times New Roman, edition of 1 (a prop for a future performance - to be read aloud)
Speaking with a tongue that does not fit in your mouth, translated, thrown voices create a deviated vocal communication. Encounters with a self. An unsettling loop. Re-reinvention. Re-interpretation. This book is a Stanislaw Lem fan-fiction that has been derived from bad interpretations of poor translations.
Contains an insert. A poem: Some Woeful Arrival (2020).
Accompanied by a short film: A Sub-Par Translation [Dream Sequence]
00b140 [or] 0047bb [2021]
38.4cm x 21.6cm, 36 unbound pages, edition of 10
Published as part of 7.45 Books Kippenberger Challenge [2019-20]
Tributes to presence, invisibility and/or not being seen. Form as a spectre, or a visual language, in which visibility is a code, something that can be replaced, that is not intended to be seen. Seen or not being seen, green and/or blue may be removed or hidden. A camera may become an eye that renders the book this way.
This book is part of, and contains a cycle of works in which invisibility and being unseen are a shared interest.
These are accompanied by a short performance to camera.
A Reek of Panic [2021]
21cm x 14.8cm, 90gsm paper, 20 pages, unique
Published as part of 7.45 Books Kippenberger Challenge [2019-20]
Nothing here is resolved, not even this description. A cycle, 0.45 of the full text, full of lamentations, misspeak and unfinished sentences. This is a self-deprecating self-critique; 45% of a roast of my indecisiveness. All images are photographs taken whilst checking studio lighting conditions. They have been created and then discarded in the making of other things. Like Lorem Ipsum holding text, they are placeholders, used to see and to define space but not to be read.
A Reek of Panic also contains in its form, the process of its own making and clues to the eventual form of the resolved book. In doing this, I have tried to take an organic approach and failed 2 times. Attempts to make a semi-book, or a pseudo-publication have led to serial failures and falling into the trap of accidentally making a full publication. The temporary, prosaic or provisional. One take: a test.
Hari [2020-21]
13.3cm x 22cm, 90gsm paper, 14 pages, UV Print and laser cut on transparent substrate, bound with 5x M3 transparent bolts, 1/1
Published as part of 7.45 Books Kippenberger Challenge [2019-20]
[A book in which all negative space has been replaced by clear transparency]
Transparency, seeing things, superimposition,
A clarity filling the negative space.
Negatives, things that are not really there,
A series of mirages, spectres and dream-like entities.
These all cycle before a viewer's eyes,
Solaris replicates our waking dreams.
Like machines or devices that cycle-recycle-cycle,
Recycle [y]our desires.