In an attempt to simplify and process the complexity of a broken housing market, I started working with the term black-and-white thinking—what emerged was a series of unsolvable house-puzzles.
c0de to Home: A Series of one Liners, 2024
Materials: Embroidery canvas, yarn
Dimensions: 94cm W x 94cm H
Photo Credit: Dan Weill
c0de to Home: A Series of one Liners (recto / verso), 2024
——————————————————————————————————–
A turning point came 12 minutes 50seconds into the AHRC funded pilot virtual exhibition We Are Only Partly Real ( video below). Seeing the work turned upside down within that sonic landscape led me to reimagine my intricate textiles as immersive, architectural-scale installations where art, tech, and human presence become enmeshed.
We Are Only Partly Real (night cycle), 2025
VR image credit: Stephen Gray
We Are Only Partly Real, 2025
VR Exhibition video walk-through (17 minutes 17 seconds)
——————————————————————————————————–
c0de to Home then featured alongside my algorithmic drawings Love by Proxy, in the online exhibition Patterns and Process, curated by digital artist Antonio Roberts:
——————————————————————————————————–
Following a ‘Critical Friend’ conversation with Roberts which I was awarded through AXIS, I began using the free visual programming tool ‘p5.js’ to transcode my embroidery drawings into a digital code generated by an unproductive algorithm.
Much like the slow processing of my colourful algorithmic drawing series, the triangulated patterns in c0de to Home are traditionally formed of only five triangles made from one continuous, non-overlapping line—yet my code ensures this house-puzzle never completes.
——————————————————————————————————–
Having reached a technical limit, I then became a resident of the creative tech space “The Studio”, in Bath:
Alongside fellow resident and musician/coder Charlie Hooper-Williams, with funding, Charlie could support me to build the technical independence I require to establish a prototype.
——————————————————————————————————–
Most recently (in March), AXIS awarded me a £500 bursary, so that Charlie could help me build a technical specification for my ideas…
——————————————————————————————————–
Inspired by the diagrammatic drawings and disorienting architectures of Shusaku Arakawa and Madeline Gins which prevent viewers from navigating on autopilot, through a site-specific inquiry to the Reversible Destiny Foundation, in Japan, l would like to explore their strategies for cultivating tentativeness, to reflect on how to build-in sensory responses to prompt an audience to read between the lines.
