Boiling Milk Solfataras, 1999
This photograph was taken in the north of Iceland in the geothermal pool of an active volcanic crater located along the Mid-Atlantic Ridge at a site where the North American and Eurasian Tectonic Plates converge. This early piece is part of a long term and ongoing series of performative gestures in geologically active locations.
We Form Geology, 2012-13
Wood encrusted in new geothermal mineral deposit
This geological artwork formed over 9 months in the Blue Lagoon, an active geothermal spring in Iceland. The piece began as a drawing, was scanned, reformatted and fed into a laser cutter, made into a wooden stencil, submerged into the Lagoon and left to encrust in a new silica-rich mineral deposit. The sculpture is part of the ongoing series Physical Geology.
The Hall of Rocks and Minerals, 2014
Historical geology collection with sculpture made of wood encrusted in new limestone.
Shrewsbury Museum and Art Gallery
This installation in The Hall of Rocks of Minerals at Shrewsbury Museum and Art Gallery features historical objects from the museums’ collections, alongside a new limestone artwork formed in the Fontaines Pétrifiantes in France. The Hall of Rocks and Minerals is on permanent view at The new Shrewsbury Museum and Art Gallery and is the outcome of a four year appointment as the Artist-Curator of Geology for the new museum.
Felt Events, 2014
In 2014 I invited a small audience on an evening journey to the Isle of Staffa off the west coast of Scotland, where I delivered a new, intimate spoken-word performance at the mouth of Fingal’s Cave on the Isle of Staffa, off the west coast of Scotland. The title, “Felt Events”, refers both to the term seismologists use to describe earthquakes and to an early body of work I made in 1998 shortly after moving to Scotland from New York. Part of Generation: 25 Years of Contemporary Art in Scotland.
Geologic Intimacy (Yu no Hana), 2016
Installation view at Fujiya Gallery, Beppu, Japan
Ceramic and sandstone encrusted in new geothermal mineral deposit
These geological artworks formed over 18 months in geothermal pools throughout the city of Beppu in Kyushu, Japan. The sculptures are part of the ongoing series entitled Physical Geology.
Detail view Geologic Intimacy (Yu no Hana) at Fujiya Gallery, Beppu, Japan, 2016
Ceramic encrusted in new geothermal mineral deposit
The Mineral Body, 2013
Wood encrusted in limestone with brass and mirror.
Installation view of the sculptures in the solo exhibition The Library at National Museum of Scotland, Edinburgh in 2013. The Fontaines Pétrifiantes in France was founded seven generations ago to create limestone sculptures made via the same process that forms stalactites in a cave. Inside the cave, objects rapidly encrust in new layers of stone. The sculptures in The Mineral Body formed over four months in the caves of the Fontaines Pétrifiantes.
James Hutton (parent material), 2017
Woodblock print composed of Scottish soil from James Hutton’s farm on Yame Washi paper.
The National Soil Archive gave me a core sample of earth from James Hutton’s farm where he worked and thought about deep time – literally some of the same red earth he watched travel down a stream and thought – the earth must be very, very old.
The Rock Cycle, 2016-17
Sandstone and brick encrusted in new limestone, spoken word. CAPC Bordeaux and off-site intervention at the zoology collection of the University of Bordeaux
The Rock Cycle incorporates the reading of a letter, and the hosting of newly formed geological sculptures within the displays of the zoology collection of the University of Bordeaux.These ‘curios’ originated as fragments of sea-weathered brick from the Isle of Bute in western Scotland, as well as waterjet-cut sandstone, that were left for three months in Fontaines Pétrifiantes in Saint-Nectaire in France. For generations the mineral-rich waters that percolate through the rock at this site in central France have been used to create sculptures using the same process by which stalactites form, only one hundred times faster. Objects rapidly become encrusted with new layers of stone
Physical Geology (a field guide to new landmass in three forms), 2011
Hard Ground Copper Plate Etching
A large scale hard ground copper plate etching on Somerset paper featuring drawings and texts about new landmass of a biological, geological and cultural nature – from body stones and sculptures formed in caves to volcanic crystals and lava bombs.
Lava Stamping Implements 1-10, 2012
Installation view of the solo exhibition Hand Held Lava at the Schering Stiftung in Berlin, which focused on volcanic phenomena and the interplay of life cycles between humans and volcanoes, juxtaposing artworks in poetic relation to historical artifacts. The image includes a display of the full set of 10 lava stamping implements alongside a historical lava medallion from the collection of the Museum für Naturkunde in Berlin, a film diptych and – as a precursor to volcanic activity – a series of drawings made with heated lava stamps. The set of lava stamps featured in the exhibition are embossed with the names of specific volcanoes, as well as the men and women who love and study them. The stamps are able to withstand temperatures of liquid magma at 1200 ̊C and are for use in the creation of a new series of lava medallions during an accessible volcanic eruption.
Physical Geology plate I, 2013
Hand-coloured Hard Ground Copper Plate Etching
One print from a series of five hand-coloured hard ground copperplate etchings.