It Started With A Kiss is an ongoing umbrella project, looking at information space and the expanding influence of form over content in the human built world.

Fosca explores artificial intelligence crossing the liminal space between the virtual and the haptic worlds. It is struggling to find a physical form. The next stage: once the ceramics are finished I'll make them a wasted panoramic landscape and film them stumbling around disintegrating and rebuilding, failing to differentiate themselves from anything around them.

My thanks and gratitude to The Blumhardt Foundation, the Boosted community and Creative New Zealand for supporting this project.

Fosca- looking at machine intelligence using clay, one of the most ancient technologies

The largest object is about 220mm high, they are still being made

Drawings for the clay objects



Experimental research for Fosca

Language Machines 1
Language Machines 2

Language Machines 3

 Remade: Likes
Unmade: clay

(Diamond Nose) IT STARTED WITH A KISS: a low resolution show about high technology

Waiheke Community Art Gallery ~Te Whare Taonga o Waiheke, 2018

In 2018 I went to a residency at Buinho Creative Hub, Messejana, Portugal where they have an MIT Fablab and creative and technical support for your project. Buinho is run by artist academics Carlos Alcobia and Sara Albino, it is an extraordinary and inspiring experience. The design of the AI stencils were the focus of my residency at Buinho where the designs were vectored, and then later machine cut.

Here is the statement from the show: This project is about how our thinking and feeling is mediated through digital platforms, the content being determined by the form of the algorithm. It is an investigation of the expanding influence of form over content in the Human Built world.

We have always been enamoured of technology, from ancient technologies like art and language to the technologies of high science and industry. As AI rises from the dross of human ambition it crosses the liminal space between the virtual and the haptic world. As it swivels its vertebrae-free head around to see the view it can’t differentiate us; pavement, tree, beetle, human, rock. Everything is an object. 

I have used pattern as the main investigative tool for this project as pattern recognition is central to machine learning and to human learning, something we have in common. 

  These are stencil portraits of the shifting, invisible face of AI. They are stencils with the negative space still intact: unreachable, noncommunicable. 

These are hapless, trudging workers (us) from the Back to Work: to the tune of You Are My Sunshine series

On the table sit the Techno-Barons who AI will view as just more random shapes, they will not be honoured as their creators. Below them on the floor are their attributes: The Failure Balls and Friends.

Success 1 and Success 2

Here is the interactive part of the show- which ran onto the fourth wall, meandering between the sculptures! I ran a series of stencil workshops with cool communities; the artists of the Waiheke Adult Learning Centre and artists from Māpura Studios in Auckland, and artists and friends at Morgadinho, Buinho Creative Hub and the children of Jecnicas de Accao E ducativa in Messejana, Portugal. Some of the artists hand-cut their own stencils from their designs, the rest of the designs were transposed into a stencil format (intuitively and by hand rather than machine vectored) and hand-cut by me.

- here are my favourites - renditions of work in the show -

Here is Mr. Poverty and his attributes: the Failure Balls

Mr. Poverty, 3 bags full

Mr. Poverty is the handmaiden of trade. He is a minor deity who has risen through the ranks of the natural gods, and the decorative gods, and is now dancing on the tables. He is accompanied by his attributes: the rolling, decaying failure balls, who start taut and puffed up at the beginning of the show, only to wither and shrink by the show’s end. They can then begin their hopeful cycle again with the insertion of a new balloon. Mr. Poverty carries these in the cavity of his torso.