Site-integrity is a working methodology – a site-specific practice that performs site through artistic devices operating in temporal relations with space and place. Taking a non-representational position (Bolt, 2004), site-integrity repositions the act of representation from its retrospective or projective dimensions towards that which is performed and is experiential. Thinking about practice in terms of event, therefore, is not simply the unfolding of a sequence of activities within a ‘privileged’ and territorialized space of the gallery; the art experience needs to be rethought, or re-experienced, in terms of a changing live space.

It is important that the artistic devices are made by hand, on site, enhancing the creativity and specificity of the process. Rather than adapting the research to fit the limits of equipment, the equipment bends to fit the needs of the research. The devices are used as both a creator of autonomy and a source of possibility through which site might be found and shared, a technical ability to go inside somewhere physically restricted or generally unreachable. Unlike many practices where the mechanics are hidden from sight, site-integrity is reflective in nature, giving the device a presence within the artwork itself.

Historically, the context of this research lies in the origins of early cinema, with reference to the Lumère Brothers’ Cinématographe (the first three-in-one device that could record, develop and project images). Site-integrity builds upon this technique via a recording/display device that is mobile. This enables an exact transfer of scale and time as the representation physically maps the architectural site. In each specific site the device operates in a distinctly different manner (as mediator, investigator, social operator, time machine) furthering ideas of site-specific practice.

keywords: site, place, collaboration, performance, space, site specific artwork, architecture, representation


Assembly is a series of site-specific installations that perform Muslim prayer spaces, comprising of 1:1 scaled moving floor projections with 5.1-surround sound. As the audience enters each prayer site the projection is activated, revealing a pre-recorded film of congregational prayer. The digital moving image hovers improbably above its ‘real’ counterpart, providing an opportunity to experience prayer in situ, via the site-performance. 

Siting cinema

Siting cinema visually explores the cinema space as ‘site’ through a series of film installations made in independent art cinemas across the UK. The primary experience of watching and the secondary experience of representing are merged, through a machine that records the space in the past and acts in the present.  The artwork has two roles: one to locate (anchor the audience within the cinema space) and the other to disorientate (see the cinema space in a new way).  

Screen space

Screen space explores the space between site and it’s representation. iPads are mounted on motorised tracks that creak and squeak following their designated path. As the iPad moves over the static architectural site, the exact representation in scale is seen on the screen. The screen’s scanning movement simultaneously conceals and reveals the real architectural site below.