INTERMADE works draw on shared cultural memory and the emotional logic of play, by  working with recognisable games and everyday objects. The result sits between familiarity and disruption, where humour, absurdity, and physical engagement overlap. Play becomes less about recreation and more about negotiation, as participants adjust their relationship to rules, space, and one another.

INTERMADES are strongly informed by the ideas of Fluxus, where the artwork is not a fixed object but something that happens through instruction, action, or event. This approach is also shaped by an ongoing relationship with the Emily Harvey Foundation, which has provided a direct connection to Fluxus thinking and practice across both New York and Venice.

The work is further shaped through exchanges with artists such as Gustav Metzger, Alison Knowles, and Siggadór Guðmundsson. Their practices reinforce an approach grounded in process, instruction, and the idea that the artwork does not need to exist as a permanent object. Works such as TWIST (a large scale reworking of Twister) and HULA (an enlarged hula hoop structure) are therefore not static sculptures, but activated situations that come into being through use, participation, and disruption.

Robots, Kube, Poole, UK

Target, Liangzhu Culture Centre, Hangzhou, China

The use of ARTSCORES in the INTERMADES creates a collaborative and participatory aspect to these artworks, inviting others to interpret and enact the instructions in their own unique ways. This can create a sense of shared ownership around the artworks, as well as opening up new possibilities for exploration and discovery.

Robotic, The Public, West Bromwich, UK

16 Intermade Scores PDF Download

Hula, The Art Students League of New York, 2012

TITLE INTERMADE IMAGE Twist, Free Art Fair, Taipei, Taiwan, 2024