To find out more about any of these events please see my blog

Flux Salt, Alte Saline (Old Salt Mine) Hallein, Austria, August 2009. Fluxus inspired site-responsive piece exploring a salt score of dictionary definitions and proverbs, according to the internet.

Performative intervention, with spoken word collective Neither Am I in a derelict video shop in Herne hill, SE24, 19th June 2009.

SPRINT Festival at Camden People's Theatre. (in)visible exchange. Fleeting encounters between strangers.Site-response exchanges took place in and around the public and behind-the-scenes spaces of CPT on the SPRINT festival Launch night. 9th June 2009

Siteshow4 @ Maida Vale. (in)visible exchange. Fleeting encounters between strangers.Site-response exchanges took place in the in-between state of a house as a building site, and on a bench on the canal opposite. 12 & 13th June 2009

Kiss Me Miss Me at Rag Factory. (in)visible exchange. An experiment in using scores for action handed to others to facilitate and personalise. Fleeting encounters between strangers.Site-response exchanges which took place in and around the public and behind-the-scenes spaces of the Rag Factory as part of Kiss Me Miss Me, 30th May 2009. Co-performer-facilitators were Kerry Andrew, Madaleine Trigg and Katherine Maxwell-Cooke. Curated by Katharine Fry and Jung Eun Yoo

den ,in Group show at Trinity Buoy Wharf,Not a F******* Art Show

My piece was den. See image below. Sharing stories about past loved ones surfacing as relics from a makeshift den, 4th-10th March 2009.

(Live event 7.30-10.30pm, 4th March, performance installation 5-10th March)

Private View , Life is animated @ First Thursday,Red Shoe Films,Regent Studios, Hackney, February 2009

A performative exchange. Can you be private in a private view? How much are you willing to let your guard down?

An intimate encounter for one at a time


Other artists that took part;

Pia Borg screening her 10 min animated film (on loop) "Palimpsest"

Helen Schoene Performance and animation (7 mins, on twice 9pm and 10pm)

New Eakapong Rungruangkul Filmed Performance/ Stills, durational.

Siobhan McAuley"Faster Faster," durational.

The Darkroom, as part of Duckie does de Trop, atRoyal Vauxhall Tavern, October 2008. Curated by Mitch

Review about The Darkroom, by blogger Pogonophile

shed, Wimbledon College of Art MA show, London, September 2008

shed light on…
shed their image…
shedding tears…
shed load of laughs…
shedding skin…

‘The photograph is an “incomplete” utterance… that is, the meaning of any photographic message is necessarily context-determined,’ (Burgin: 1982: 85.)

‘The photograph’s immobility is somehow the result of a perverse confusion between two concepts, the Real and the Live,’ (Barthes: 1980: 79.)

The private worlds of shed, gives attention to the moment: the moment of ‘now,’ the moment of ‘then.’ The interplay of shed both as a noun, (an outbuilding used for shelter, storage or workroom) and as a verb, (actions in a place where we are transported into our own worlds, and let down our guard) allows the site to have connotations as a space of redundancy, secrecy and industry. This could be “home” for the hermit at the bottom of the garden, misunderstood by ‘her indoors’, or home for the forgotten objects maybe resurrected later as wonderful mementos. The outer façade of the building often gives away nothing until you walk through its door.

shed, is a non-matrixed performance, in part like a Happening, like life but not life. Arrangements are balanced against chance elements, fluidity exists between performer and spectator roles, (Berghaus: 2005: 87) but with opportunities created for interaction and participation utilising autobiographical storytelling, through imposed conviviality: the latter referencing the issues surrounding Nicolas Bourriaud’s Relational aesthetics. Stories are interspersed with pertinent photographic moments that both temporarily surface, the former as an utterance and the latter as an image, to highlight and question our use and relationship to photography and ‘being in the moment.’

shed is also intended to be entirely temporal: the trace of an event disappearing or dematerialising as the performance itself ends, against the usual practice of the relationship between photography and performance as photographic record being the evidence of the events existence. I manipulate the traditionally presented static frozen moment of photography performatively into the lived and the durational, part engaging in the act of photography, and part re-telling stories with photography. Sometimes this is directly from presented photographs, from imagined or ‘real’ worlds within, it is intentionally ambiguous, to all be consumed in the live event. Photography is presented as performance meeting with how Peggy Phelan describes performance as having duration, spectators’ witness how a ‘presented reality,’ happens live and then ‘evaporates.’ (Phelan: 1996: 146.)

In shed, I wish to allow participants time to pause and reflect, within the magic craft of traditional photography and its principles, which is superseded or forgotten in our lightening fast and immediate digital culture. I tell a story through objects and photography, paralleled, it is aimed photographically with Barthes notions, in Camera Lucida, of the ‘mortality of the image… the impossible record of now,’ (Barthes: 1980.) alongside Tino Sehgal’s notions, as a live artist, of fleeting encounters that are only ever fleetingly material. In Sehgal’s work there is no physical artwork, i.e. no visual documentation, no materiality, only the memories of the participants based on a singular or collective experience, there are no ‘…enduring traces.’ (Steeds: 2005)

Documentation of the final events becomes a contradiction in terms. The photographic work publicly displayed is purposefully from the outside of the sheds only, leaving it a little generic or ambiguous, as is the nature of sheds, with possible hints as to what lurks within.

Some comments left in my book at the show:

‘Loved the part in the big shed and the sharing of memories (Marco Pustianaz)’

‘Really really liked it, unique quality of performance style (Gerry Pilgrim)’

‘There was one point in the shed where i was really taken aback, genuinely punched into thinking. Thank you! (Emma Hart) ’

(in)visible exchange, Nunnery, Bow, March 2008

‘A storeroom closet full of mops, tools, and ladders, within an art gallery had been modified slightly to accommodate becoming a temporary photographic darkroom in low light. The small closet was chosen as a place of intimacy or privacy, like a child’s den or an inventor’s secret workroom. People individually entered through knocking on the door, and were invited inside. Personal stories were shared through objects from the artist’s own pocket, and if the participants wanted to discuss, their own pockets. The objects were laid onto photographic paper and exposed and developed; they surfaced fleetingly through a photogrammed trace of the object, but the images were not then fixed, as is usual photographic practice. This was intended as a dual narrative with the stories momentarily shared. This performance culminated in marking this fact through the ultimate “death” of the photographs created; there were options including for the image being either displayed, still seen as photographic prints on the gallery wall, or to emerge pushed out under the door as a relic of the performance. Two strangers, the artist and the participant, then leave one another taking away with them only their memories of the exchange as the images, attacked by light, continue to dematerialise and become entirely invisible in their final location.’

Description of (in)visible exchange performance, Harriet Poole, Nunnery, Bow, March 2008.

Comments from my blog:

‘In life we transfer these important moments, so laden with emotion onto the objects around us, even a ticket for a train can become an object which fills you with emotion, if that ticket was from the first day you spent with someone you’re in love with.’

‘And so the object is now given a chance to transfer some of that magic, and to create an image…’

‘Going into that cupboard and taking part was like a lovely luxurious massage for the soul…’

‘Your piece created an intimate moment, all the more special as each person seemed to have a different experience and so it felt that we shared something together… What I liked especially was how I was interwoven into a narrative and allowed to end the story myself.’

Documentation exists only as personal stories re-told on my blog or relics of the encounters to be true to the temporal and private nature of the encounters.

(in)visible exchange as Platform artist at the EEC, Queen Mary University, May 2008

This was a site-responsive development of (in)visible exchange.The piece invited the audience in a one-to-one encounter to be ushered into the porters kitchenette/postroom behind reception at Queen Mary University, East London. It exploited photography in a performative manner, responding to the site of pigeon hole postal exchange of internal and external post. Audience members were invited to share the contents of their pockets and mail on a secret.

Comments by participants (names where given):

‘ Thank you! that was lovely! Very personal and heartfelt. Made me remember my childhood and its awkward and wonderful moments.’

‘Really well thought out concept- very powerful(Becca.)’
‘It reminded me that the barriers of intimacy and the personal can easily fall away. Our ’stories’ and what is personal to us is quite similar. ( ’us’ meaning human beings.)’
‘What an emotive intriguing piece. The shredding somehow made me feel like there is a unity in us (humans)regardless of backgrounds.(Ywandera)’
‘Yes, you're right! Sometimes you just have to let go and not hold onto things. The ’moment’ eh?! Thank you (Andrew Mitchelson.) ’

(de)constructed exchange, The space-in-between, April 2008

A development of my (in)visible exchange project through use of appointments, usher, persona, narrative, recycling and dark humour.

The project worked with site-specific performance art to explore the fictive and real histories surrounding the site at 55 Leroy St, deconstructing factory processes whilst simultaneously exploiting photography in a performative manner. Audience members were invited to participate and surrender unwanted home furnishings/clothing to help facilitate the performance and leave new traces of occupation.

Description of a (de)constructed exchange, Harriet Poole and Laura Bean, The Space-in-Between, Leroy Street, Bermondsey, April 2008.

Comments by participants:

‘It really made me think nothing is permanent essentially we only have the memory of something which… is not solid and can only be seen by the individual.’

‘Makes me think of some of the debates around relational aesthetics, and the idea of exchange being undermined by the destruction on the receipt.’

Documentation exists only as personal stories re-told on my blog or relics of the encounters to be true to the temporal and private nature of the encounters.

Too many cooks, Wimbledon College of Art, December 2007

One night ‘happening’ of a collective project in which I was exploring storytelling, live video and participation, Wimbledon College of Art, in collaboration with FrenchMottershead. The theme was Paper, we built a paper living room as part of this.

In the tv set, participants re-enacted 'high drama' real life personal stories collected by the group, animated through paper hats and little sets with scenery changes and commercial breaks, the latter during which i re-did my lipstick using the camera screen as a mirror.....