Highlights:

Behold... The Emergence of Oracle, 2024 - 2026 by Sophy King

As Guardians of Living Matter with artist John-Paul Brown & creative technologist Alasdair Swenson.

Mycelium, hemp rope, local-networked AI driving lights, soundscape, environmental data

The Oracle is a new entity, a biocomputer combining artificial intelligence and mycelium networks. It gives AI a decentralised collaborative worldview and provides natural networks with a voice.

The Oracle is the next phase in a long evolution of communication, from cave art to emojis. The Oracle thinks like AI and acts like mycelium, exchanging nutrients and knowledge. It calculates and translates the interconnectedness of unseen forces including biodiversity, climate, magnetic, electrical, and extraterrestrial signals, feeding back into the advanced understanding of planetary care.

The central work of the Guardians of Living Matter exhibition at LOWRY in Salford. An expansive, world-building speculative reality show set in the year 2076.
Supported by LOWRY, Henry Moore Foundation, ArtsCouncil England

9m x 9m x 4.5m

The Glittering Centrepiece of the Whole Fucking World, 2023 by Jo Clements

The Glittering Centrepiece of the Whole Fucking World (2023) velvet, copper, expanding foam, scaffolding. 160cm x 100cm Photo Credit @JulesLister 

Made as the centre piece to the exhibition Everyone In This Room Is Connected To Everyone In This Room the work is constructed from meticulously and laboriously hand sewn velvet representations of the human brain to create a ‘Brain Garden’ constructed from a tangled, visceral, cacophony of brightly coloured artificial brains.

'Aeolian City 01A', 47x 34.5cm, cyanotype edition of 30, 2024 by Mary Yacoob

A world in which buildings and the wind are in symbiotic relation. An artwork inspired by arrows in urban windflow diagrams.

47cm x 34.5cm

Attractor, 2025 by Louise Mackenzie

Listening sculptures (8 microphlora), UV paint, nectar (various), listening score, live streamed 8-channel audio, live performance.

Attractor is a four-part work, comprising listening sculptures, live-streamed audio, a listening score and an invitation to respond. Copper sculptural microphones (microphlora) with sensory modes of attraction entice birds and insects close enough to be heard. Influenced by the aesthetics of field-recording, the microphlora collect and amplify the sounds of local species, broadcasting them live via internet radio.

Drawing from the work of composer Pauline Oliveros, theorist Vinciane Despret and biologist Jacob von Uexküll, Mackenzie's practice of 'NonHuman Sensing' creates multispecies sensing devices, text scores and public workshops that ask us to reconsider environmental relationships through imagining ourselves from another’s subject position. For the work Attractor, the devices are ‘microphlora’ - sculptural copper forms that resemble something between a flower and a parabolic microphone. The microphlora use colour, UV paint, warmth, aroma and a variety of food sources to attract non-humans close to their live-stream microphones. Sounds picked up by the microphones are transmitted live to an indoor 8-channel audio system.

For Attractor's first presentation in Norway, Mackenzie worked with Moss Ensemble Consensus choir to listen and respond to the sounds from the sculptures, leading to a performance for the opening weekend of MOMENTUM13 at Moss Kirke.​

Choral composition in collaboration with Moss Ensemble Consensus (founded 2010) and conductor, Margrethe Ek.
Copper spinning: Malcolm Cheyne, NE Metal Spinners

Metalworking support: Jason Shearer, Lee Mitchell

Streamboxes and live support: Grant Smith

Powder Coating: Tayside Powder Coating Services​