"Creativity is at the heart of my approach to idea development and problem resolutions"
Over time, my relationship to art has evolved and this continues. Recently, I have found myself occupying curatorial roles in art science programmes within science festivals. I have also worked as an artist and creative lead on projects dealing with the material of science as a communication device. Also recently, I find myself making more films and exploring this practice, while retaining a core interest in photography. I am someone who feels strongly about documenting the world around me and so try to do the best I can to do this creatively and in a way that allows my own ideas to flourish in the most optimal conditions. Without artistic and creative practice, I don't think this is possible.
I've maintained a close relationship with the MA in Design Interactions at the RCA, for which I guest lecture once in a while and have collaborated on new biodesign works by some of its graduates. The most recent brief I worked on with the students related to the drone art project I am involved with from 2015-2016, which explores creative applications of drones.
In 2008, I became involved with the Foundation for Art and Creative Technology (FACT) in Liverpool, during its 'Human Futures' year. I ended up edited one of their most ambitious publications, called Human Futures: Art in an Age of Uncertainty from start to finish with 6 months (pictures below). It was a marathon and a sprint all at once. I then became closely intwined with one of its offshoots, Abandon Normal Devices, for which I have worked since its inception. I was also part of the community that developed its intellectual journey in its early years.
Through these links, I have been involved with a range of other artist initiatives and communities. I was on the Executive Committee for the International Symposium on Electronic Arts in Belfast during 2009 and Co-Chair of the Media Art Histories conference in Liverpool during 2011. I'm also a member of the Technical Committee for the Cultural Utilization of Outer Space, part of the International Astronautical Federation.
Together, all of these relationships inform and are informed by my interest in how science and technology are changing what it is to be human. This is the single thread running through all of my work and I work with artists and designers to explore these dimensions.
I guess I'm a child of the digital era of photography. I purchased a Canon 5D mk II in 2010, which was the first serious camera I have owned.
At this point, I had decided that I wanted to invest much more into photography as an artistic outlet and it really brings me a lot of joy. I am lucky enough to know some truly remarkable photographs, such as Kris Krug, Ed Alcock and, through Olympic connections, Anthony Edgar, Bob Martin, Nick Didlick, and Gary Hershorn. While there is a lot to be worried about in terms of professional photography and how it is affected by the proliferation of pro-amateurs, I think all new innovation leads to challenging creative skillsets and think this is something of a golden age of photography.
In recent years, film making has become an interest for me and I've really got used to being behind a camera, shooting and editing. Here's one recent creative work, which focuses on some of my research around drone technologies.
Since around 2005, I've situated my work within artistic contexts.
From 2006 to 2016, I was a guest contributor to the remarkable Master Degree at the Royal College of Art called Design Interactions, which was led by Tony Dunne and Fiona Raby, two extraordinary and lovely people. This community of designers and artists have been a huge influence on my approach to working creatively and nicely interfaced with another core part of my creative development which was alongside the Foundation of Art and Creative Technology - FACT - in Liverpool.
I was appointed a Fellow of FACT in 2006 and have worked with its Director Professor Mike Stubbs and its wider entourage of creatives, many of whom have become close friends. Around 2008, I became involved with the foundation of the Abandon Normal Devices festival, having worked closely with Mike, Debbi Lander, and Gabrielle Jenks in producing this new event around the London 2012 Cultural Olympiad period. Working with these organizations has shaped my understanding of curating and working as an artist and allowed me to step into new roles.