I've been cycling since I can remember, and assembled and maintained bikes most of my adult life. I have never made a bicycle from scratch though.........

I was researching, and read about the Bamboo Bicycle Club. They offer workshops to provide the knowledge and tools for people to make their own bamboo bike frame, with custon geometry. You sign-up, pay, decide what kind of frame you'd like to make, send measurements, and then in two intense days of a weekend workshop self assemble a bespoke frame...... I wanted to make a slightly compressed road bike.

And I made this; ready-made metal bottom bracket, seat insert and head-tube, custom stainless drop-outs (thanks James), Moso bamboo, joints wrapped with woven hemp and two-part epoxy. Flintstonesque.

Bamboo frame


Art Futures

One day, some of the futures we currently imagine won’t be present. How can we encourage those we want and discourage those we don’t?

20th - 21st March 2013, a two day workshop for the Roaming Academy at the Dutch Art Institute (DAI), Arnhem, the Netherlands



Global Contemporary

Museum Futures: Distributed was exhibited at ZKM in Karlsruhe as part of The Global Contemporary. Art Worlds After 1989

A year later a magnificent catalogue is published. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. The project, which consisted of research, exhibition and publication attempts a critical analysis of the key institutions of the art. And to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally reflects upon its own conditions of possibility. With The Global Contemporary. Art Worlds After 1989,  ZKM | Karlsruhe reimagines itself as a utopian factory, a place in which local experiences of time subvert the unity of the new universal time.

Museum Futures: Distributed - is a machinima record of the centenary interview with Moderna Museet’s executive Ayan Lindquist in June 2058. It explores a genealogy for contemporary art practice and its institutions, by re-imagining the role of artists, museums, galleries, markets, manufactories and academies.


WasteAs part of Critical Practice I’ve been working on a series of events/walking tours/discussions. Over the next two years, we will work with a wide range of international partners to explore value from various and perhaps even contradictory perspectives. 

One strand of this research The Brokers: People, Spaces and Values will be a series of guided tours lead by a specific Broker, they will explore how different social practices of evaluation, are situated, localized and embedded in particular places, buildings, public spaces and institutions. 

The Brokers: People, Spaces and Values. Waste

Who: The Brokers are environmental lawyer and Dotmaker guide Rosie Oliver, and economic geographer Angus Cameron 

When: 10.00 for a 10.15am (sharp) start - Saturday 16th February (we leave at 10.15 sharp as Thames tides wait for no person!) 

Where: We will perambulate the Isle of Dogs, Greenwich and Blackheath, unpicking notions of waste, the unwanted and the marginal. The walking-tour format aims to investigate the specific situation of waste... Each activity will last an hour and a half, and comprise a combination of prepared tour, and animated discussion. 

Education: Not Knowing

2–6pm Tuesday 13 November 2012

Raven Row
56 Artillery Lane
London E1 7LS

This public discussion based on Artist Placement Group’s discursive format The Sculpture explores Education: Not Knowing. Inspired by APG’s working practices, I co-organised a Think Tank, we met several times at Chelsea College of Art and Design and decided to convene a Sculpture. Given the drive to instrumentalise all aspects of creative education, the possibility of ‘not knowing’ - inherent in APG’s formulation of the Open Brief- seems increasingly radical, subversive and productive. Education: Not Knowing was a vibrant afternoon of discussion and exchange unfolding through five key APG themes: Placement, Education, Not Knowing, The Contract and The Gallery.

Our intention, was not to dwell on the history of APG, but to reinstall its mutating DNA into the present.

In 2010 I collaborated with 51% studios on an entry into a com­pe­ti­tion, A Room for London. The brief was to design a tem­po­rary 'hotel' room on the roof of the Queen Eliz­a­beth Hall at the South Bank. Although our entry was rejected, I enjoyed the process and especially their blackboard traces. See more of the drawings.

InsatiableChelsea College of Art & Design, London Friday 19 October 2012

As part of Critical Practice I helped facilitate Insatiable a symposium to critically examine the conflicted idea of sustainable growth and to envision alternatives.

Insatiable is an exchange between Art, Economics and Ecology. Each of the fields is contested and constantly changing, and the relationships between them are ambiguous and paradoxical. While the symposium offers a critical focus on ‘sustainable growth’, we aim to move beyond critique towards guidelines for creative action.

As a global centre for contemporary art and finance, London is a unique context in which to consider the conflicted idea of ‘sustainable growth’. Decades of constant economic expansion have overwritten considerations of ecological sustainability, even human survival.

V&A BicentenaryI made a presentation as part of: Artists Work in Museums: Histories, Interventions and Subjectivities

Friday 12th and Saturday 13th October 2012
at the V&A Museum, London

This two-day conference brings together artists, curators, historians and museum professionals to explore the history and impact of artists working in/with or against museums. The conference will explore the diverse, often hidden ways museums function as environments of cultural and identity production.

Ms Chan

Museum Futures is exhibited as part of Modern Monsters / Death and Life of Fiction

Taipei Biennial 29th September 2012 –  13th February 2013

Curated by Anselm Franke

The Taipei Biennial 2012 takes as its point of departure the ancient Chinese monster known as Taowu, whose evolution has been traced by the literary historian David Der-Wei Wang in his book The Monster That is History. Wang shows that somewhere in the course of Chinese history, writers and historians began to identify the vicious monster Taowu with history itself, since it could foresee and thwart human intentions. Wang suggests that it is modern Chinese history in particular that lends itself to a reading through the Taowu, against the backdrop of a twentieth century characterized by utopian aspirations notoriously overshadowed by systemic violence.


venusBeautiful bakersRain, LondonLunch, HospitalfieldDocumentary Filmmaking Groupplaya de cueva