top of page


‘Error 88’ marks a series of autobiographical, multimedia artworks that expose the complex relationship between my hometown, my body, and digital space, in relation to exploitation.

To confront and to conform. To reinforce and to reclaim. Existing as paradox, the materiality allows accessibility – however the content does not. Distorted and disrupted: Synchrony interrupted.

Film, installation, events, spoken word, gifs, and music combine to ignite overwhelming sensations of anxiety, isolation, nostalgia, agency, hopelessness, youth, and chaos integral to such localized experiences, like my own growing up in Furness.
Informed by data enquiries, news articles, interviews, experiential reports, jargon, and local creatives work, the pieces perform as a collective voice referred to as ‘E’.

“I am made of salty sea air and capitalisms subtle mistakes.”

'E' represents the collective experience. e is error88: the 88% of conservative campaign ads December 2019 that were misinformation. e is  borne from systematic errors that trap people in cycles of exploitation.

hi, my name is e. my safe word is wildflowers. I am here for a good time not a long time-e-e-e error88: you cannot escape this place. 

Originally producing a documentary on Cumbrian socio-economic issues , my work transformed: utilizing local materiality, spaces  and installation to impose autobiographical turbulent experiences on the viewer.

Audience feedback was essential throughout the creation process. originally, Viewers questioned my relationship to the themes: Was i appropriating and exploiting the community I was exhibiting?  
 Similar to  Renzo Martin's radical work 'Enjoy Poverty', I  was contributing to the very problem I was attempting to address: The systems of exploitation that result in socio-economic deprivation in isolated, rural communities. By promoting palatability in my docu-series, the works were received as voyeuristic. I was creating poverty porn about the very community I was a part of.

To honour the raw ,honest authenticity of my subjective experience, I re-directed my work from a traditional documentary into abstract films, event curation, and installation. I have resolutely transformed my documentary on rural poverty into an abstract series on 'bodies of exploitation', informed by my own community and youth. I now celebrate the agency of my experience, and do not hide from it. 

 Like Mark Leckeys 'O' Magic Power of Bleakness' and 'Dream English Kid 1964-1999AD' I situate my audience within my own experience,  and invite them to witness experiences of youthful anxiety.  The work presents an unapologetic passion for nostalgia and chaos.

Throughout, I embrace word play and the obtrusive voice. Creating digital spoken word, I play with the concepts surrounding ‘systematic errors' and ‘digital social spaces’, both of which are defining to living in my deprived rural area.
These concepts are synonymous with bodies of exploitation and the paradoxes that trap communities: my female body , my impoverished town, my friends gentrified coastal village, our unemployed mates, our homeless co-worker, our depressed boss. All trapped by profiteering politics. 

'poverty is a political choice, one that you made. i swear, ill never get out of here. '

I employ sexualized, ambiguous language  'fuck me'. saturated by the consequences of exploitation: the paradoxes and plays, connections and dis-connections, isolations and communities, beauties and industries, profits and poverties entangle the viewer. 



The viewers experience imposes the work: Do you feel connected and nostalgic? Do you feel alienated and confused? The unique dialogue created between you, the viewer, and the viewed reveals the similarity or difference in our experiences. 

To perform and to be performed. To watch and to be watched. To connect and to dis-conn-Error 88: Demonetize me. Exploit me. Follow me. Block me. F-f-f-f-f-f-fuCk mE.

The final work is an entanglement of ERROR88 pieces. a film installation across limestone on the moors. The piece combines instrumental music I directed with local composer, Daniel Baqai, to translate this accumulation of experiences. E INTRODUCES THE WORK BEFORE becoming A chaotic, distorted, overwhelming culmination of the COLLECTIVE anxieties, JOYS, AND FATGIUES BORN FROM THIS LIVED EXPERIENCE. 

 The location and medium present disconnection, nature, peacefulness, and rurality to the point of isolation: the experience is lost to the moors. It is inaccessible. Inspired by BUMS being underground, the film re-creates the consequences facing the bodies of the exploited caused by systematic failures so evident in Furness.  
The installation is the night out of someone who can't hold all these worries, fatigues, and pains in anymore: As they drunkenly stumble through these simultaneously revealing troubles their experience is embedded, hidden, and ultimately lost to the landscape.






bottom of page