The Love Robots are built on notions of love, not ‘intelligence’, automation, or practicality. They use sound, motion and animation, and they try to find each other. Sometimes they succeed, often they do not. They are fragile and vulnerable, made from materials such as glass and stone. We built the Love Robots as props or prompts to help people to think about love. More information here.

In this 8-channel piece, the real-time positions of the planets play a piano composition, a variation on Vexations by Erik Satie. It was exhibited at Andromede planetarium in Marseille, France in May 2025. Above is a stereo version of the sound work.

In this event with Coventry University and Google DeepMind collaborators, we translated live drawings by Federica Ciotti into AI-generated dialogue, and engaged participants in discussion about the semiotics, performativity and materiality of AI. Pictured: Ruth Gibson from the Centre for Dance Research, drawings by Federica Ciotti

In this residency I decided to draw only on found objects, then put them back where I found them. This built upon previous drawing work shown below, and was informed by the mystical history of Lisbon (thank you https://maisportuguesia.com/), as well as a Fernando Pessoa book I was given while there. More details here.

This performance lecture film uses philosopher Gilles Deleuze’s concept of the fold to help understand language, labour, productivity and agency in AI systems. We fed a dataset of Surrealist poetry into an AI system, then used the word2vec algorithm to create links between concepts, in order to inform a live, interactive performance at Edinburgh Fringe Festival intended to educate the public about the technicalities, ethics and absurdities of AI. Our film was selected by curator Iris Long for the Nowness Short Film Awards in Shanghai in November 2024. View a version of the film here.

This work is based on a simple but radical idea: that we can influence people’s attitudes and actions about consumption and climate change by simply showing them other people’s average daily lives. We commissioned filmmakers in 12 countries to follow one young person for one day. I then conducted a visual ethnography and edited the footage into films, to present a multicultural snapshot of global living and consumption, viewed through the lens of climate change. It prompts the viewer to think about their own daily practices: What if someone filmed my average day? This work has been shown at the COP26 and COP27 global climate summits, and in events and exhibitions in Brazil, Czech Republic, Indonesia, Korea, Lebanon, Portugal, Spain, the UK and Vietnam. This work was commissioned by the British Council and created in collaboration with artist collective D-Fuse.

In this project we light up trees in urban areas to reflect current hyperlocal air pollution levels, in order to make the invisible visible, as a form of environmental storytelling. I designed the electronics and conducted workshops and research. The project has been shown so far in London (surprisingly clean air) and Vietnam (top photo: Hanoi was consistently measured as ‘hazardous’). It was created in collaboration with artist collective D-Fuse. Project documentation here.

This multisensory installation explores the materiality and spirituality of AI through sound and symbolism. My drawings were embroidered onto fabric by specialist craft artists, and are experienced in an architectural felt structure created by textile artist Anna Drupka. I created a four-channel algorithmic, spatial sound work which includes a poem written by me and read by Anna. The installation was exhibited so far at NDSM Amsterdam from Oct 2022 to Mar 2023.

This project addresses the question of what role AI art practice can play in exploring alternative versions of AI, and in fostering its public understanding by using a game and performance to present a fictional scenario aimed at helping young people understand the technicalities and ethics around AI. We engaged young people through a live audiovisual performance at Serpentine Gallery in London, and a downloadable game – both created by artist duo dmstfctn. The plot concerns a frustrated AI destined for deployment in a cashierless store, which the audience helps to cheat its way out of its training simulation. I led the project, which was funded by The Alan Turing Institute./p>

Series of drawings composed by software I wrote, then hand drawn. Top: Random Walk 1.6, (2021) acrylic on 400gsm paper, 152x122cm, created using a Random Walk algorithm with 1.6 million steps over 24 hours. Bottom left: Animated Nature (2024) India ink on antique book cover with precision lens from a nuclear weapons lab, 260 x 170 x 4mm; A Concept of Time (2024) India ink on A3 Canson watercolour paper; Processing (2024) conductive ink on birch bark, 168 x 248mm.

I co-curated this event at Somerset House, London with artist/researcher Helga Schmid, which replaced societal clock time with a temporal system organised around the chronobiology of the human body. From top left: Project Instrumental performing a ‘sleep concert’; dancer Laura Lorenzi performing with artist Nayan Kulkarni’s installation Room for a Pinoleptic; the Sleep Dome of artist Michaela French; Drawing Breath workshop by artist Jayoon Choi; Beholder VR installation by United Visual Artists; Microbial Meditation by artist duo Baum & Leahy. Find video documentation here.

This work was commissioned by the UK Acoustics Network for the International Year of Sound, created for a 33-speaker array produced by the Institute of Sound and Vibration Research at Southampton University, UK. This was a collaboration with musician and producer Alexia Charoud, who reads a French translation of a poem I wrote. The work premiered at the Sorbonne, Paris in January 2020 and travelled internationally thereafter. Above is a stereo mix of the work.

For this Athens residency exhibition, I created prints and other work based on the contested Parthenon Marbles at the British Museum. I co-curated the exhibition with the other artists. The theme was drawn from the book Utopia as Method by sociologist Ruth Levitas, who conceives of utopia through three lenses: archæological, ontological and architectural (aligning roughly with past, present, future). From top: print from my Return to Stone series; sculptural objects by Susan Atwill; Friezes & Fragments by Ana Helena Arévalo with my print in background; Reverse Entropy by Grace Pappas. This work is documented in this publication.

I curated this exhibition to launch a book series of the same name, which I co-edited. Interior Futures treats interiority as a temporal condition, and the future as a destination. Far from the shiny, singular future of showrooms and advertising, these futures draw from many places and times. They are disruptive and distributed, embracing uncertainty and other creatures. From top: Medium:Füun installation by Mále Uribe, Me Time 4.0 film by Mimi Kim, exhibition view by Carl Bigmore, Technological Nature film by Daria Jelonek; Dust by Belinda Mitchell. More details here.

Curatorial text written by me: “Forget the future, we’re outside of time but ever present, building shadow realities beyond binaries, spaces and species. Design won’t save the world, but communication and conversation aim for worldbuilding and wellbeing – tactics for tackling despair and destruction. This year we have merged the practical with the philosophical, materials with meaning. Senses and stories based on Shinto and synthesisers, Tao and tofu, AI and the apocalypse, all come together in a theatre of memory, and a collective therapy.” Photos: Dominic Schudin

Shown here: Yokai by Makiko Takashima; Trans-actions by Silke Steidinger; The Sun and Water by Jungwon Jung; Tacit Vibrations by Lewis Kemmenoe; Boring VR Game by Cara Mills; and White City House by Emily Cole. Photos: Dominic Schudin

I launched RCA Space Program for students from various RCA MA programs, working with scientists, museums and galleries. Exhibitions shown: Senses & Space (2018); Memories of the Future (2015); Material Culture (2019); Museum Futures Lab at the Royal Academy (2018); Moonscapes at The Crypt (2019); Shadow Gallery at the V&A Museum (2017).

This performance at London’s Royal Academy of Arts immersed visitors in an Institute of Surrealist Research. Artists, performers and actual astrophysicists were indistinguishable in white lab coats as we engaged visitors in games of chance, prediction and illusion. Photos by Max Meichowski, video documentation here. Collaboration with artists Michaela French and Helga Schmid.

Current technology is often presented and perceived as magical – tools and services that hold unequal power over people who cannot picture the technological landscape, and cannot, therefore, act in a decisive, informed manner. To counter these misbeliefs, this exhibition used identification, visualisation, materialisation, sonification, and a summoning of real and technological demons. I exhibited a multisensory installation, alongside the work of Özgün Kiliç, Oliver Smith and Francesco Tacchini. Exhibited at the Royal College of Art.

Our permanent installation at Kensington Palace in London includes interpretive textiles, ceramics and projected animations in the Queen’s State Apartments, the oldest part of the palace dating to 1688 and the reign of William and Mary. I created the projected animations with Nelly Michenaud. Caroline Claisse created the ceramics and textiles.

This was commissioned for Old Street underground station, Transport for London. It displayed live data about train arrivals and departures through simple, linear animation. Designed to match the 1960s tiles of the station wall, this installation was intended to evoke the station's space-age past. This was the time of Stanley Kubrick's film 2001: A Space Odyssey, and these visions of the future can still be read within the architecture. The work was installed from 2013 to 2014. Sound was added for a second version, which was exhibited in the group show Space 2016 in Q Park, London.

This exhibition explored the ideas of the 18th Century philosopher Jeremy Bentham. We augmented historical documents and images with technology to create multiple narrative sequences, in order to engineer a sense of wonder using narrative storytelling structures. In collaboration with University College London's Bartlett School of Architecture and Suzy Hogg. Further information here.

In this immersive theater performance, a businessman on the phone annoys a tour guide (with unsuspecting visitors) by walking carelessly over graves. He is then haunted by unseen voices. I was commissioned to do audio and projection design. Part of the Future Cemetery project funded by UK Arts and Humanities Research Council.