Student Recruitment

Student recruitment is a funny term…  when I think of recruitment I think of employees and soldiers being called up to offer service to the institution with remuneration. I wonder what the actual meaning of recruitment is and if others would agree with my view of the word? Does it even have an actual meaning or just a common agreed meaning?

Anyhow, when universities were grant funded that sense of recruitment kind of makes sense. After all what were students but more grey matter recruited to the institution to power the advance of academia, remunerated in the form of degrees. Is this a rose tinted view? Maybe.

However, today in the Capitalist model of university education where students are supposed to be in a position to make informed choices as customers and use universities to better themselves, the idea of them paying and being recruits seems at odds. It implies that they are in the service of the institution, (offering it the money it needs as their service?). The work that they do does not seem to be of any benefit to the institution, which is now largely governed by financial viability rather than academic. The degree award seems somewhat independent of the work, after all it has been paid for.

Not many students are failed nowadays, but are they due a refund if they are? Or more accurately, as they are not actually paying for it directly, does the public purse get a refund? Are we as a public able to demand that they fail more students and have higher standards? Should the failed student be compensated for the potentially more valuable dreams, time and hopes that were wasted through miss selling? What of the NSS and the CMA in all of this?

How important are these distinctions and the language in determining the relationships between students and institutions? I dont know? But it at least makes you think…

Of course in an ideal world in the current model you wouldn’t need student recruitment teams, you would have good courses that could transform peoples lives and pay prospects. All you would need to do is inform people through marketing. So what is student recruitment? It does sound like a vehicle to ensure the financial viability of the university as opposed to the offer of a service. Why not just have marketing?

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The Line

**Something went wrong**

They made a mistake and for a split second it became obvious to me that they were no more than I. They didn’t know either.

Nothing would be the same after that.

I dared to lift my head for a moment… the whip cracked. “Head Down!”. I didn’t. I couldn’t see much. A fleeting glimpse in the half light. Fellow bodies working. Passing, chopping and rolling materials from one place to another. “HEAD DOWN!” I obeyed. But the thought lingered… “what are we building sir?”. “HEAD DOWN!” He screamed through the rain.



I could see the man cursing as he slipped and stumbled down from his perch. Getting angrier step by step as he stumbled towards me. He grabbed my arm, trying to drag and force me, but I had no real reason to resist. I was taken to a small hut, the man’s attitude changed. He wasn’t so certain anymore. A woman was waiting for me, she was dressed smartly, not like us. She carried a confidence, a superiority, but it might have been an illusion. After all, she was out here with us. She was definitely shorter than me, but somehow she was still looking down on me. “What seems to be the problem?”

Her eyes were cold and hard, unflinching. She seemed to be relishing this opportunity, I could see a flicker of sadistic excitement behind the insincere sympathy. I felt uncomfortable. My question seemed stupid, I wanted to be back in work. What would happen, what about my home? What about my family?

I offered my question with a pathetic softening smile… “I just wondered what we are doing?”… “We are building a better world, a fairer more equal world.” She returned. “Oh…” I said. There was a pause, I tried to be friendly, but it may have come out wrong, “That would be nice. I would like to see that?”

“Hm, wouldn’t we all. If you keep doing your job maybe we can get there.” Her attitude was hardening and she was becoming irritated, but it was too late, I was exposed I couldn’t just leave or walk away. I wasn’t sure what to do, maybe this was the script all along. There was a silence that seemed to stretch on too long. I felt I had to offer something. I was part of the exchange now. She waited for me to finalise the exchange, to say something  stupid so that she could reassert her authority and my compliance. A small flicker of defiance welled up inside me, I don’t know why. Perhaps this was my chance… but…

“I just wanted to see what we were doing? I felt I might be able to help in some way… I mean… couldn’t we do things differently?” I offered weakly. “Its just that I noticed…” she cut me off. I looked at her, pleading with my eyes to be merciful and end it swiftly…

“Who do you think you are? Why you!” She calmed her tone and continued with a placating sympathy for my stupidity. “Don’t you think that that is a bit arrogant? People have dedicated their whole lives to this project, better people than you. Do you have the arrogance to think you know better? Could you do MY job? Are you better than me… and everyone else here?” She waved her hand across the scene. “Is that what you think?”

“No mam, sorry mam”. I muttered, defeated.

“Get back to work” she barked.

I was walked back to the line still feeling exposed. I didn’t look back, but somehow I knew she was still staring at me. I could feel her instructing the men without hearing or seeing it and all the while her stare stripping me bare, making me thinner… colder.

I reached the line. The man gave me a last shove and struggled back up the hill. My emotions were raw. Conflicting sensations of anger, embarrassment, shame and hurt swirled around my body. I tried to think it through. She was just doing her job. It was my fault. She’s never worked the line. Why doesnt she care? Why should she? Have I messed things up? What will happen next? Why did I do that? Bitch. Why am I so stupid? I hurt. Why? I hate her. Why did no one else help? I hate everyone. I deserved it. I’m an arrogant idiot. She did it for the greater good. Did I say the wrong things? Why am I broken? She was taking her anger out on me. Maybe I am better? I need to stop thinking. Why do I feel this way? Bastards. It was their fault. What could I have done different? I didn’t do anything wrong. I was trying to help. Why did I think I could? Whats wrong with me? Why me?

My thoughts were rushing in on me faster and faster, but I had no answers. The world shrunk around me. I swear I could begin to see the curvature of the Earth through the rain. I clung onto the rocks next to me. Digging my fingers in. My heart beat faster. The world continued to shrink. Soon I was clinging onto the surface, every muscle tense as the earth began to rotate and spin through space. I could feel myself about to fall off…


The lightning and a fresh surge of rain brought me back. I was standing on a rocky hillside in the dark, in the line. I muttered “That way madness lies”. The man next to me shot me a worried glance. I reached for the hammer, my hand closing around the familiar wooden shaft. Without really seeing it I immediately visioned the warm smooth handle with its pin pricks of wood worm. My hammer. An extension of me. A co-operative, a team, a reassuring thing. The first strike was unsatisfactory, chipping an unnoticeable fraction from the side of the rock, but it was enough to bring back the familiarity. My body tuned to the hammer and the rocks. The second was perfect, catching the rock in just the right way, pulverising it. I settled into the game. How to get the perfect strike. An inane smile even crept over my face. For just a second I relaxed. It was over… but even that recognition threatened to release the doubts again. I new I would never be trusted. I knew I had let my family down. I quickly raised the hammer to escape the madness and subjugated myself to the rhythm .

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New works

work emerging inspired by the innate geometry of the canvas. blackboards, structure, chance, space and history. 

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New beginnings in black and white.

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Inspiration from Frie Leysen’s Keynote speech at the Drama theatre Sydney Opera House 23/01/15

Audience Engagement in Welsh Visual Arts

Recently, (Oct 2015) Frie Leysen’s keynote Speech has been highlighted by people involved in the Welsh Visual Arts and praised. This has caused some alarm for me. Because, although I agree with around half of what Frie Leysen says I come to a very different conclusion when it is placed in the context of the Welsh Visual Arts.

Frie Leysen’s keynote speech


My whole professional life has also been dedicated to the arts, specifically the Visual Arts, and like Frie Leysen I believe love allows criticism.

As Leysen says in her speech, I also want to point out where I believe there is “hurt“. Like Leysen, I do not want this article to be seen as a personal attack on any particular people or organisations, I recognise that I am not alone in being prepared to give as much as I can for the arts and, there are many people who have given more than me in service of the arts in Wales. The fact that we have the arts scene in Wales that we do, and that we can have these debates, is testament to the extraordinary endeavour of others. Sometimes, given our marginal position within Welsh society it is difficult to criticise. Perhaps we are too fragile or to put it more crudely, we don’t want to fart in the team bath. Forgive me.

As Leysen says, we are indeed lucky that we live in countries that fund the arts. However, it should be stated that this does not come without offering a service to government, and too often we artists are guilty of assuming that public funding is a right, rather than a service.

Leysen talks about travelling the globe to find younger generations who have a relevant vision of the world. How they make us shift perspective by seeing the world through their eyes. How when, “these three elements come together, their personal vision, the specific artist language and the need to share with an audience – fireworks happen!!!!” In Wales, I haven’t seen any fireworks, there is a missing ingredient. In fact, she mentions this missing ingredient several times during her speech. This is where I agree with Leysen and highlight the importance of the audience.

However, the important part of Leysen’s question is to whom is this young artists view of the world relevant? To a taste maker looking for a new ‘fix’ of otherness for their art world posse, or for their friends and communities? Leysen is absolutely right that “Internationalism includes the very local. Only the local can be Universal“. Art must first succeed in its own environment, with a  genuine relevance and emotion, before it can have any relevance internationally. It is here I depart from Leysen – In the context of Welsh Visual Arts what is the nature of succeeding in art and are the international arts really based on local success?



I have little to say on part II of Leysen’s speech as these are fairly obvious requirements of good international curating. In an ideal world these would also be applied to local curating to. Too often we see artists being judged by one work alone and not being given the chance to put across something more subtle and nuanced, or to really communicate with an audience by showing a body of work. It could also be said that in the visual Arts in Wales we don’t have venues that are capable of displaying the work of emerging Wesh artists in this way to the public or can afford to change the exhibitions as regularly as they should. I also often suspect that the cry for professionalism in the arts has an ugly counterpart that is selection by CV. However, this is all going off topic.

In 11. (V) Leysen goes on to talk about the audience. This is important.

I too share Leysen’s absolute admiration of the audience. It is worth hearing from Frie Leysen to re-iterate this;

“For me, it is still a mystery. When I’m at the entrance of a theatre and watch all these people coming over to see a show, I wonder: why do they come? What are they looking for here? Why are they not at home in their slippers with a nice glass of wine, watching tv? They invest so much to be there: financially, they have to buy tickets; organisationally, coming home early from work, picking up the babysitter, seeing that there is enough coke and chips for them, dressing up, rushing to the theatre, and, most of all, spending one or two hours listening and watching the artists. Spending their intellectual and emotional capacities all this time for this artist, means quite something.

Just to say that I have a huge respect for the audience and, most of the time, we underestimate them. Thinking for them that, after a hard day’s work, they need something entertaining, something light. Mistake. It is not because I’m tired that my brain doesn’t function any more.”

In fact, I would go to the extreme of potentially placing the audience above and beyond the artists in terms of importance. For, in reality, the artistic moment, the bit we all get hooked on, happens in their heads and is created by them in response to the work. What the artist feels is not always directly relevant.

However, the idea of the Audience being underestimated is important too.

This is a bit of survey of the issue and regrettably doesn’t go into much depth, but I hope that you will forgive me for this. In the post war period British society generally included very few university educated individuals. Lord Maynard Keynes set up the Arts Council to protect the ‘high arts’ from being out competed by the popular arts that were available on increasingly successful media, first Radio, then TV, now I guess on mobile devices. Without support, the skills needed to give live performances and gallery shows of challenging and intellectually relevant work would not have survived. Many significant institutions were born of this era, such as the Royal Ballet, Hayward Gallery and the Arts Council Touring Shows. Much has been said about the debate of high art over low arts, but it has to be remembered what context these decisions were made in. At the time an argument for high arts was reasonable. Today, at a guess, around 40-50% of the adult population are university educated (Please check my guess…). Leaving aside any debate about the standards of education changing, it is now reasonable to accept that we have a very large audience of people who are willing and capable of engaging with contemporary thought in the Sciences and Arts. For example, there is now a whole field of literature in the popular sciences and philosophy which never existed before. My electrician has a PhD, my partner, a middle management accountant, has an MSc in Astrophysics – I could go on. Government should not be funding the Arts to boast about the liberal values and creative economies as portrayed by a few artists, but funding the arts to boast about the audiences and audience figures who are capable of revelling in these issues. For it is this that reflects well on a balanced and open society. (A lesson in all round education that Government might want to listen to…)

Although participation rates are still increasing as Universities commercialise, with the rising costs of education this may not be like this for much longer. However, for now the arts have a unprecedentedly large potential audience. So why are they not attending the Visual Arts events?

I occaisionally attend openings when parental responsibilities allow me, although I have to admit I find them extremely awkward affairs – (Im never quite sure what I am allowed to say or who I am allowed to speak to). Too often the only people there are the arts professionals and friends of the artists. The galleries are closed after work hours, or even closed on Bank Holiday weekends!!! Is there a range of work, family friendly exhibitions, collaborations with other forms of entertainment and interest?

The Visual Arts venues in Cardiff do worse than underestimate their audience, they seem to actively dismisses them. Perhaps, it is believed that you can’t be both popular and critical? I hope I have at least opened your mind to the idea that this needn’t be so. Leysen is concerned that there is a blurring of Art, culture and entertainment, heaven forbid that the arts could be entertaining to an educated audience!!

In Wales, we are privileged to have exceptional contemporary theatre at the moment. Productions such as Beneath The Streets (Punchdrunk Enrichment and Hijinx Theatre), Mametz (National theatre Wales) or Bordergame (National theatre Wales) point the way in terms of exciting novel engaging theatre that is both entertaining, critical and relevant to its audience. Why can we not do this in the visual arts? What is wrong with seeking to be popular and defining your audience?

There is more than a whiff of cronyism here. We have the audience but they are not deemed worthy enough. Instead, determine what is relevant are tastemakers and small circles of people, educated in the same Western Art theory with the same cultural referents. They are the people who decide whether work is successful. This then, is the local success that is feeding the International Arts scene. Where is the relevance to the local culture, where is the real diversity? This is not the bottom up system that Leysen is talking about, but a top down system telling people what they should be interested in. Little wonder then that people are uninterested.



So for me the problem is not encroaching capitalism or the threat of popular culture, but the bubble that the Visual arts have built around themselves to protect them. The bubble that keeps everyone else out and maintains their exclusivity. As mentioned, I think this has an impact on the International Arts scene that Leysen goes on to talk about in relation to theatre. Maybe in theatre it is different, but the range of topics she touches are precisely those topics that don’t connect firsthand to local art producing and consuming communities.

I feel that in order to try and appear relevant International Arts curators and artists labelled in this way are tempted to draw from the international news media. Of course there are numerous evils in the world, The Naxalite Indians should not be displaced, the Middle East is an incomprehensible mess in which we are wholly complicit, Wars have happened that should never have happened – in our name! Capitalism breeds greed. There is considerable hurt in these and many more issues that define our times. However, are the Visual Arts the most appropriate vehicle to spread those complex multi-faceted political messages?

For the people in these situations art has very little relevance at all, after all, art is normally considered a luxury and can certainly only exist after subsistence has been well and truly achieved. Art is made about these situations by outsiders who feel affected by it, so its already second hand experience. Situations that are this urgent can never produce Art in that moment. Perversely, the thing that often makes Art that is described as political successful, is their lack of politics. More often than not they just highlight the emotion, the politics only serves to cloud this. For example, Guernica could refer to any number of conflicts, and is not specific to the Spanish Civil War.

Furthermore, Fine Art is a lousy medium to carry a message of injustices to the masses.  I think of Asian Dub Foundations hit single ‘Naxalite’ and can’t help but feel that this track selling well and being played to crowds of thousands in gigs all over Europe had more effect than an artist’s Artes Mundi nomination a good few years later – so why bother using the visual arts in this way?

If we want International Art to be that bottom up system, then it is the very real pains and extreme beauty of daily life on a more intimate scale, or – heaven forbid, what is interesting and popular to particular audiences, that will resonate most and give us that international diversity.

Put simply, it can be dictated by the interests of its audience and curators have to do more to recognise this. We are all capable of distinguishing between Britain’s Got Talent and the Turner Prize (although the degree of difference is worth debating), and I think we can have faith that there is a desire for that complete range of culture from the public. In fact, the arts have to be connected to an audience if they are to have any legitimacy.

Thank you.

Further thoughts…

The Arts Council of Wales is currently in a drive to increase audience participation in the Arts. Consequently, some galleries in Cardiff are using funding to research engaging with niche audiences and run projects with these audiences. This is admirable and an inevitable due to the ACW’s shift in priorities. However, Im not sure that this is going to create a sustainable increase in the audience for the Visual Arts.

I feel a bit sorry for the artist run spaces and contemporary galleries in the Fine Arts that have little option but to respond to this funding criteria and try to reach new audiences. This is despite my belief that art should be responsive to a larger audience.

After all, for years they were allowed to develop their own niche interests and invite artists to exhibit under a more hands off approach. Many of the exhibiting artists were under the impression that their creative expression was free from government control in an artist run or contemporary space. In fact they beleived that their work could be divorced from a local audience and respond only to a few other artist/curator experts, because that is essentially what a lot of people believe Fine Arts is. They could aim above, wide of or beyond the interests of the visiting public in the name of Art. If you target an audience isn’t that Design or entertainment?

Obviously, I don’t agree with this, but these galleries are in the position where they have a number of artists producing work that is irrelevant to the public and a funding body that wants them to engage the public.

There is no quick fix to raising audience numbers in the Visual Arts and, ultimately, it has to come from artists who are making work that is relevant, engaging and interesting for sections of the public. The ‘Made in Roath’ Festival in Cardiff or perhaps Lwcs in Swansea are excellent testing grounds for this sort of work, but ultimately the idea of targeting particular audiences with your work needs to percolate into the arts colleges for there to be any real success in engaging new audiences. Targeting audiences allows for targeted publicity and venue strategies that can support the work and allow audiences to engage with the Visual Arts.

Recently, Jenny Savage came up in conversation and I think back to her STAR Radio project as an excellent example of one form of this approach.

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exhibition in Oxford June 2015

Trigonometry invite

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‘Everything colour taught me about myself’

Here is an install shot or two of the little show squeezed into the […] Space at the mission gallery Swansea. Informally titled ‘everything colour taught me about myself’. Opens tomorrow and is up for around a month. Gallery is closed on Mondays, but otherwise has fairly normal opening hours. These works all explore colour relations, some which are universal and others that are more personal to my wonky colour blind vision.


They are painted on old 13″ laptop screens. To reference a modern take on a Cartesian theatre/ virtual reality style removal from ‘the thing in itself’. They were Intended as part of a much larger series, but I ran out of laptop screens.


If anyone knows where I can get more…

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New house, new studio – New directions?

Now that we have got near to completing our move and all the decorating and are settling into our new home I have been able to get together a temporary studio in the garage. Here is a sneak preview of some of the work going on and the space.IMG_1247 IMG_1248 studio

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PhD meeting

I have just had a PhD meeting with Colin Crumplin from Bath Spa. And it was very interesting.


I should fill you in the background I would like to do a PhD that sits between the arts and psychology. Colin describes this is something similar to Susan Hillier’s use of her anthropology background in making art, and I suppose there are similarities I want to use my background and interest in Cultural evolution to probe various aspects of the arts, such as authorship and arts relation to its audience, from within an arts context.


Colin quite rightly pointed out two problems (well two problems aside from the multi institutional, multi disciplinary and bureaucratic issues). Firstly that my knowledge of Art history was weak and I appeared to know more about the scientists than the artists. And secondarily that a PhD was usually a detailed study of a particular aspect, and that in its current state my proposal was too broad.

First let me make it clear that I agree with him to a degree and accept everything that he is saying. However, some interesting questions arise from this…

Is an interdisciplinary PhD by definition broader than your usual PhD, and in providing this multi-institutional funding pot are the AHRC trying to encourage this? Or are they unaware of the potential strains they are putting on the traditional format of a PhD? Personally, I think that there should be scope for a broader PhD that seeks to unite knowledge from different areas, rather than bury itself in detail, particularly in the Arts and Humanities. In the sciences it could be argued that this detail is essential in providing practical solutions to problems. But, in the arts there isn’t this sort of pressure, in fact there is a different pressure, they should be interesting. By this I mean that they should have an interest to more than a handful of academics, because in the arts and humanities we are dealing with very public matters that effect people or have an audience. How much scope is there for this variation in approach at the moment? I don’t know…

Now this brings me onto the first issue, my embarrassing ignorance of art history. Hands up anyone who as a graduating MA artist has heard of Kenneth Marten, (just to let you know I have but only because someone pointed out this ignorance a few years ago). Any other British constructivists? Ok lets try one from my conversation with Colin, Francois Morellet?

Now Im not defending my ignorance, I feel ashamed and want to do something about this, but I have one question why after a BA, an MA and a lifelong interest in the arts have I not heard of him?

Perhaps a weakness in teaching? Well yes, certainly at BA, but I don’t think this is the reason. I haven’t been taught anything about studies in consciousness but I have been able to research this easily myself.

So is it availability of information? I think this is closer yes I can find books available at cheap prices and published scientific papers on the internet but there are few in the arts. Monographs on even much more famous artists are far more expensive and the publishers seem to defend the material inside like misers! I am reminded of C.P. Snows lament in the divide between the two cultures back in the 50’s. 60 years later and it seems there has been no change. Part of the problem I my case is that the scientists I study all reference each other in their works and share a common interest. These relationships and links are much harder to fathom in the arts. In fact my knowledge of artists is comparable to my knowledge of scientists or greater, much greater in fact. But they are disparate, because we don’t specialise in the same way that scientists do, and this is not encouraged at BA level. The teaching staff are encouraged to be broad and not to coach students in their own interests. where as the opposite applies in the sciences. Just look at the rate of new specialisms emerging in the sciences vs those in the Fine Arts.

But also, Im not sure that artists necessarily are the best person to go to to learn about their work? In fact the same can be said of art historians and critics, they often come with their own baggage? In the end all we are left with is the image of their work and a whole load of competing histories,none with any real authority (Yes I include the artist in this) over any other. So its not available and even if you can find something its rarely conclusive.

The nature of the arts? Maybe and of course a little confused knowledge is better than none? Or is it? Im not sure Im ready to air this in public in case I get struck off or something, but as artists do we need art history? I mean its fascinating and enjoyable and often inspiring and we would all be drawn to it anyway, but is it essential for making contemporary art?

Colin said two things, firstly that we don’t want to repeat what was done before and secondarily that if something is visually similar to something else than usually there is an underlying cause in the artists practices that is responsible for that – and the implication was that you would look a bit stupid if you didn’t know it. As I have done numerous times, to my disgrace.

Now I don’t believe that we really can repeat what has been done before and I believe that an artist should be a mirror on society and reflect or critique the zeitgeist, for want of a better word. Now that may be through absorbing contemporary science and literature or through doing portraits of contemporary life, the permutations are endless. Within this I can’t see that repetition is an issue? No one wants to consciously copy another artist, what would be the point (unless to make a point – Glenn Brown)? If we have unintentionally done it, well the chances of anything directly similar are slim, and the fact that a similar visual theme has arisen is comparable to a case of convergent evolution (bats wings and birds wings). In itself this would be very interesting and point to a similar cultural or physiological selection pressure. For a very basic example we have portraits done by Gainsborough and also contemporary portraits, the visual similarities actually highlight the differences in many ways, as well as the obvious fact that humans like looking at humans.

In fact, this was the case when I was introduced to Kenneth Martins work. A friend, who was an older artist and writer on the arts, mentioned similarities between my work and Kenneth Martins. I was accused of ignorance he couldn’t believe I hadn’t been taught about him on a BA (we had Russian Constructivism and the Bauhaus, but no British connection, although Vorticists in Britain were covered in relation to Futurists in Italy), what should I make of it? Yes both of us have an interest in constructivist systems based approaches, but I have come to that conclusion from a completely different route and will continue on my path, so why should I have known about him before? Does that change the work in any way, because I am not familiar with another visually similar artist? Of course, I was curious to find out about him, and I have seen many reproductions of his work (I discovered one of his paintings in a restaurant once) but beyond this I found it extremely difficult to get any information other than exhibition listings and other artists who has worked with, with some very vague indications as to his motivations. It would take an arts history PhD to fully excavate this and interview the relevant people. Then as mentioned there would be all sorts of complications about who’s version is definitive and ‘true’ as mentioned earlier. Am I not better off concentrating on my research and feeling validated and comforted in the fact that I am not the only artist to have come to these or similar conclusions?

I suppose if culture was stagnating and no advances were being made then the arts might grind to a halt and become boring and repetitive, but I don’t see this as being likely in the UK at the moment (Despite the general gloom and bad weather). (I suppose also that ‘bad art’ or amateur art might try to copy without engaging in any attempt to find a contemporary motive for working.)

So, just because art history is closely related to contemporary arts does that mean it should form the research content of a fine arts PhD? Or are their equally valid domains for research scattered across contemporary life?

Ultimately, I have a long journey ahead of me in finding  suitable niche for me to do my research and practical work in the arts. It is obviously academic in nature, but it is yet to be seen if I can find a suitable supervisors and whether this can fit into the PhD framework, even if that is what is wanted by the funding bodies. Then of course, I have to be accepted at whichever institution that ends up being and then I have to secure funding. So a lot of work and talking ahead and no guarantees of any pot of gold at the end of it.


I hear a rumour that Cardiff Met  had to persuade their staff to do PhD’s in order to raise their research profile….- -oh the irony.

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Bit first birthday

I have waited a long time to see people dancing and enjoying themselves in front of art works. Ok it’s probably largely due to the dj, but still it’s lovely to see. I don’t know why this hasn’t happened before? Thanks bit. I also don’t know how the party wasn’t crashed and why everyone looked so cool and trendy. But anyway glad my work was part of it. Great to see Kim there as we’ll reminded me of tactile Bosch days.



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