I work with a method called self institution to create semi fictional institutional contexts to frame creative practice.
This work has grown out of a fascination with the fundamental idea that the ‘meaning’ of art, art works and exhibitions, and how art is valued and understood in society, is greatly influenced by the institutional context(s) that surround its reception.
For the past ten years I have worked to develop ways to bring the construction of institutional framing into the creative process, so that it becomes a crucial part of the artistic work itself. I do this via a synthesis of art practice with creative writing, presented online as the activities of a fictional public institution of some kind. This method can be understood also in terms of an aesthetic autofiction which results in radically open ended, improvisational and diverse approach to creative practice, which develops ‘live’, alongside events and in an ever evolving bind with the local environment.
My work has evolved in parallel with both contemporary socio-political contexts and my own research interests into critical/anti capitalist art practice. Specifically the work has passed through and reflected three distinct critical phases: neoliberal enterprise culture, (see Open Council 2008 - 12), post financial crisis UK austerity, (see Torpoint Art Service) and the ‘post truth era’ (see Dignity Scholarship)
The work can be placed within the "tradition" of institutional critique practice.