March 3, 2007


A reworking of Face by Fabrica at the Museum of Contemporary Art in Shanghai (MoCA).

More information here

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June 12, 2006


A reworking of Face by Fabrica in Collette, Paris

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September 21, 2005

Istanbul Street Portrait

A reworking of Face by Fabrica in Istanbul.

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August 15, 2003


DARE is an interactive installation piece designed and created specifically for the American Museum of the Moving Image in New York. The exhibition has run from June 19th until October 26th, 2003 in the Museums’ Warner Room.

DARE, the title of which refers to the Italian verb "to give" and the English verb meaning "to be bold”, consists of four touch-screens and a video projection. Each screen is interface and display: they require action as well as observation, writing as well as reading. At the opening, the exhibit was essentially a black canvas, awaiting and inviting visitors to be participants and to play along. On the other hand, on October 26th at the end of the show, it included stories told through a sequence of marks and images that recreate the past and the present of those museum visitors who in four months interacted with it. DARE creates its own documents, its own accounts of itself and its own records of those who contributed to its making.

DARE consists of four pieces: GRID and FACE, that relate to images, whereas DRAW and MODE relate to gestures and the creation of lines or marks. All pieces are playful; they all record user’s interactions onto a hard disk with a date and time stamp. These can all be recreated as a time based sequence.

Text Taken from

I was responsible for Grid and Face which have since been used in various other situations.

See here and here for further description of individual pieces.

Museum of the Moving Image (MOMI)

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July 11, 2003


A series of sound reactive toys in answer to a brief set by Yugo Nakamura.

Fish race assigns a frequency to a fish who then move towards the finish line depending on how regularly that frequency is used in a piece of music. Players can choose their own music then place a bet on which fish they think will win.

Tomface distorts your picture by allowing the user to shout into a microphone or play some music. It's a graphic equaliser but using a face.

Lines, both in colour and black and white change rotation based around the frequencies in music. The coloured version is very fresh and simple whereas the black and white lines create fuzzy moire patterns reminiscent of television static.

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February 25, 2003


2398 gr. is a book and CD-ROM that explores our relationships with food, the techniques of contemporary art, food as fetish, ritual, dependence, festivity, emotion, pleasure, obsession, chemistry, relation or fear.

I worked on the interface for the cd rom as well as producing 10 games

You can play them all here!

Lord of the Pies

Magnum PI

Factory Worker Training App

Checkout assistant Training App

Quality Control Training App

Boring job simulators - Factory Worker

Boring job simulators - Checkout Assistant

Boring job simulators - Quality Control

Catfood or Dogfood


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February 1, 2003


United People uses Apple E-macs as video kiosks and local DSL services to connect to an Oracle database and Benetton's web servers. Users put themselves online, look at the faces already in the database and send messages to anyone that appeals to them. The system can be used to flirt, play, show off, or simply send messages to friends. United People is currently installed in Benetton stores in Hong Kong, Rome and Birmingham and will be extended to Barcelona, Moscow and London in the next 2 months. Already Benetton are taking advantage of the system to run local marketing initiatives like the highly popular 'Are You the Face of Birmingham?' promotion which ran in the Birmingham Bull Ring store between September and December 2003. One Birmingham 'face' will be selected to be photographed as a Benetton model in February 2004.

United People augments the space of the Benetton megastore with a virtual network which mirrors the global retail network and in which the global customer can insert his or her message. It gives a voice, and a face, to the client. It reverses the usual flow of communcation, whereby the corporation speaks and the consumer listens. It's also a lot of fun. You never know, it might just catch on.

excerpt taken from


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January 6, 2003


An odd one out game made for the 2398gr CD ROM published by Benetton.

Original Odd One Out

This was also used in a Benetton promotion and has been updated, since my departure, for use on Benettonplay with the lovely added functionality of being able to add your own pairs.

New Odd One Out

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November 14, 2002


IN/OUT is an experimental interactive CD-rom which explores the creative space between musicality and play. INOUT contains 9 sound toys, 5 which deal with sound INPUT via the microphone, and 4 which explore sound OUTPUT via the loudspeakers.

Play alphanoise

Play a mouse controlled version of spinner

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June 2, 2002


Face is a piece that came into being as a proposal for the Venice Bienale. It has since been reworked and reused in various locations around the world (see DARE, Taking Liberties, Collette and Piacere). The core idea is simple. You take a photo using an automated camera and that image is then added to a visual list of all previously taken photo's which scroll through in rapid succession. ADD A BIT HERE THAT YOU WROTE FOR TH IDN BOOK.

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September 22, 2001


Taken from ARt&D - Research and Development in the New Art Practice (Paperback) by Joke Brouwer (Author)

GRID allowed users to input a short video sequence into one of its grid rectangles, which then looped repeatedly, until someone else decided to re-record over the same grid rectangle.

The effect of GRID was of an evolving and complex set of repeating patterns – a matrix of differently looped actions, often created by different people at different times, each with their own internal phase patterns. The whole thing adds up to a novel kind of polyrhythm, a compelling visual music of syncopating facial expressions and body movements created by the audience for the audience.

GRID, like the TRIPTYCH piece mentioned above, is an unwitting descendant of Krueger’s REPLAY, the VIDEOPLACE interaction which grabbed a 16 frame silhouette sequence from the audience whenever the system detected motion, and then looped it back and forth until the next motion detection occurred. But REPLAY, according to Krueger’s description of it, is a simpler work, so simple that it might be argued that it fails to fully realize its potential. We have already seen how for Krueger, as for many artists who program, the invention phase, the creation of the basic idea, can become the end of the process, rather than the beginning of a new phase of applied creativity. Ross Phillip’s GRID on the other hand starts simply, but goes on to build complexity from this simple base by overlaying and juxtaposing loops together day by day for 4 months, and in doing so creates an artwork which is full and resonant and satisfying. In the way it uses full images rather than silhouettes, by putting the moving images into a spatial relationship with each other across the grid and by giving the artwork a memory, GRID empowers it’s audience to make a personal and collective statement, while the artwork as a whole constitutes a statement about the nature of interactivity and authorship.

You can see a (slightly) interactive version of the grid here.

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