This is not a statement.

Not a manifesto.

Not a retrospective.

 

I do not currently exhibit in the traditional sense. My work does not seek retrospective framing, nor does it desire a solo show in the institutional white box. That format — the staged event of professional recognition — feels increasingly redundant for a practice that has always unfolded across time, medium, and site.My work does not seek retrospective framing, nor does it desire a solo show in the institutional white box. That format — the staged event of professional recognition — feels increasingly redundant for a practice that has always unfolded across time, medium, and site.

This is not a retrospective. It is not a summary of achievements.
It is a field-based proposition. A recalibration of publicness and practice.

I have turned to a slower, more feral logic.
What I make now constitutes a system: performances, field scores, poetic texts, objects, digital works, drawings, and ceremonial dispatches. These are not separate activities but interdependent manoeuvres within a broader field — speculative, ritualised, and polyvocal.

Each edition, score, or rite is a node in a living practice — not documentation, but iteration. Not a product of art, but a gesture of its continuance. I consider many of these to be Ritual-Digital-Artefacts: hybrid works that cross physical, textual, and digital states, often circulated outside of conventional exhibition platforms.

Publishing — as act, as medium, as interface — has become central.
The Editions Store is not a shopfront, but a field of practice. A ghosted exhibition space. A portal. Each item listed is both complete and contingent: folded time, partial records, companion objects. Not to be collected, but to be held, activated, or read at a slant.

I draw on a lineage of artists who refused institutional framing by building institutions of their own: Stuart Brisley’s Georgiana Collection, The Cenotaph Project, and the constellation of practices in Museums by Artists. These weren’t merely alternatives to the museum — they were critical mimetics, radical inversions, sovereign systems.

In that spirit, my practice moves through self-organised structures:
The Miniature Rites, Monographs, Field Scores, Ritual Artefacts, and long-form bodies such as Fortress Europe, The North, English Anxieties, and The Great Antler Ley. Each of these operates with its own time signature, its own publishing logic, its own ritual economy. Each is an institution in miniature.

This is not interdisciplinary. It is post-disciplinary, or perhaps extra-disciplinary. I do not work between categories — I work as if categories have collapsed. There are no stable subjects here. No forms that remain pure. Only movement, citation, crossing.

The work is not fixed. It is ongoing.
The Editions are the Show.

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A fuller elaboration of this position will be published shortly as Treatise — a downloadable PDF available through the Editions Store. It offers expanded reflections on method, fieldwork, refusal, and ritual publishing.