Now You See Me, Now You Don't. 2011

Bath Scientific and Literary Institution

measuring my body, changing it into data, ignores my persnality and emotions. How then do young people feel about this process being done to them?

Sport, Disability and Art. 2011

University of Bath

researching what sport and physical activity means to disabled people.

(photo Emma Rich)

Respect3. 2011

Bath Literary and Scientific Institution

There is a power struggle for the bodies of everyday people. Who is in charge? Those outside the 'norm' are labelled 'other' and are discarded, shunned, despised. Identities are socially constructed through age, class, disablity, ethnicity, gender, religion, sexuality... and size.

(photo Sally Lemsford)

Respect2. 2011

Deda- Art Auction raising funds for victims of the Pakistani floods: performance

and a body flung till its innards split and spill, demands attention; says 'Don't forget us in your hurry to get on with your cosy lives'.

(photo Karen Veness)

100 Wishes Banners. 2010

Chesterfield Garden of Light: installation

100 people to make them, 1000s to see them billow and sing in the wind.

(photo Sally Lemsford)

9 Minutes Movement. 2010

Movement Gallery, Worcestor Foregate Street Station: live art

In 1840 Worcestor people lost 9 minutes when the railways insisted on standardising time for their timetables.

(photo Sally Lemsford)

Respect. 2010

Wirksworth Arts Festival: live art with Stef Smith

Peoples swept up and away in the floodwater become indistinguishable from the sandbags stacked to hold back the flow unless we afford them care and respect.

(photo Sally Lemsford)

How can we develop an artists' network in which the participants are 'agents of critique or subversion' (Dave Beech, 2008) rather than passive acceptance of usual network parameters?

What are the rules of participation?

If the contemporary practice of art is not object-based, but is relational (both in terms of subject and form), what is the purpose and function of the curator?

When does an artwork become sacred?

Bling: gold and its value, objects and their value?

If 'the very urge to make recorded music is a redundant and creative dead-end' (Bill Drummond, 2006), what is the motivation to produce hard copy artworks?

Notions of the authentic self in relational anthropological epistemologies

Why do we give objects more status than spaces between them?

The sublime.

Journeys, tours, guides and getting lost.

Accepting before moving on.

Where is the dividing line between journey and destination?

Ideology

Why are words a luxury for visual artists?

Dancing.

Equality and fairnes.