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List of Performances Itinerary. 1999 -2017. 

1. Civic Room Glasgow, 2017.
Stand up performance entitled: ‘I am a triangle of Success’.
Video work, photographs, scripts, banner and props.
‘Tribal dance of the pointy shoe’, ‘The great watch trick’, ‘Tsunami of Disparagement’, ‘Flue Anxiety’, ‘The Zero One’, ‘Me and my ladder’ and ‘Turning the blind eye’.
‘Turning the blind eye’ consisting of table-tennis balls with painted-on black pupils. I spin the balls into the audience with my Table-tennis bat while performing a monologue, shouting out issues we all choose to ignore.

2. Punjabi Junction Edinburgh, 2017.
Stand up performance entitled: ‘Zero-One.
Video work, photographs, scripts, banner and props.
‘Oligarch of the year’, ‘Me and My Ladder’, ‘The great watch trick’, ‘Flue Anxiety’, ‘The Zero One’ and ‘Turning the blind eye’.
‘The Zero One’ consists of a monologue with a keyboard. The keyboard has two large buttons, Zero and One. I hit the keyboard with my head while giving the greatest Key Note speech of all time. ‘With the Zero-One everything can be coded by smashing your head off the keyboard. In this way jobs are created and people are always punch-drunk to everything.

3. Channeling Jim Morrison. 2014-2017.
Performed at the Baltic 39 Newcastle, Guest Projects London, Friday Lecture ECA and the Civic Room Glasgow 2017.
Performance photographs.
Performance, script and plans, drawings and lists. Video from ECA performance.
Channelling Jim Morrison is a live stand-up scripted performance where I channel Jim Morrison back from the dead, I find him in a bar in the underworld, I have been channelling Jim for some years to see what he thinks of current affairs, politics and music. Jim has been drinking and drugging heavily since his death. ‘Good on you Jim, you old dog’. I channel Jim singing and dancing and rolling around on the floor in his own shit. His insights are always astounding. Always political and to the point, as ever.

4. Get Cancelled, 2017.
Guest Projects London. ECA performance Lecture. Civic Room Glasgow.
Images, photographs, plans and descriptions of the performance.
Diary account from the performance at Guest Projects.
Painted ‘Get Cancelled Box’ with painting. Hand-made stamps, stamped material.
I bring my box of home made stamps to the gallery / venue and discuss the merits of the different cancelled stamps with the audience, asking people if they would like their faces stamped and cancelled. Many people want to be cancelled, some want their arms cancelled. Some want their faces cancelled.

5 Total Crap. 2015-2017 
Painted Suitcase with interior paintings. Total Crap sculptures, photographic documentation.
Plans, descriptions and diary accounts.
Performed at Goma 2015, Summerhall 2015, At Catalyst Arts for FIX in the streets of Belfast 2015, The Bluecoat Gallery Liverpool 2016. At Cabaret Voltaire for Manifesta 11, Zurich 2016. The Golden Thread Gallery Belfast 2016. ECA performance lecture 2017 and the Civic Room Glasgow 2017.
Inside my painted suitcase I have 100 small papier-machied boxes painted with statements like ‘Total Crap’, ‘Total Crap Job’ ‘Total Crap policy’. 
In this work I set myself up as a travelling sales man, selling total crap. I promote the work in different ways by telling the audience that ‘this work is appreciating big time, being shown all over the world - in Zurich, London, New York and Milan’. The titles and statements painted on the pieces of ‘Total Crap’ are related to areas I am interested in talking to people about. In this way people can engage with the piece on a humorous, political, economic or philosophical way. 

6. Selling Receipts. 2016-2017.
Performed at The Golden Thread Belfast, opening night performance 2016. Studio Visits and ECA lecture and the Civic Room Glasgow.
Cash register, photographs, plans, diary account, cash receipts.
I bought a cash register to programme and sell the receipts as a performance. For each show or event, I programme the cash till to the specific event with a different text relating to the project, selling receipts as limited edition art works. I have also sold one-off commissioned receipts. In this way the receipt becomes the artwork. The receipt is also a relic from a performance. You can also put this artwork through your tax return at the end of the financial year.

7. Objects of Immeasurable Value. 2016.
Cabaret Voltaire for Manifesta 11.
Photographs, sculptures, texts and plans.
For Manifesta 11, I made twelve small ambiguous grey sculptures. I gave these works titles relating to their immeasurability, like ‘The immeasurable value of reading a book’. I arranged for a salesman / assistant to sell the sculptures, and to haggle a good price for the value of the immeasurable sculptures, this being the performance. I had instructed the salesman to discuss the sculptures giving them some meaning in the process.

8. Me and My ladder. 2015-2017.
Performed at ‘Circus between worlds’ Glasgow, The Royal Standard Liverpool Punjabi Junction performance and The Civic Room Glasgow.
Performance photographs, (Film).
Performance script.
Ladder sculpture, (recording)

This work involves a sculpture of a small ladder held aloft, accompanied by a song to the tune of ‘Me and my shadow’. My lyrics for this performance relate to symbols of social status and how we naturally judge people on a materialistic level.
Lyrics consist off : ‘Me and my ladder walking down the avenue judging everyone, oh look at your nice Land Rover aren’t you doing well, oh look at you lying in a pool of your own piss not doing so well, your down at the bottom and you - well you’re up here near the top with your sailing yacht’.

9. The skyline is fine. 2016
Song, performed at Cain’s Brewery Liverpool and Guest Projects London.
Photographs, script, recording.
This is a song about finding a tarot-card outside my front door and looking up its meaning. This work is also a reflection of an artist life in Glasgow. I like to use this song to start a performance, to get peoples attention, if I am performing to a loud audience. One review mentioned this song as making no sense, but to me it makes perfect sense.

10. Classification of Class. 2016- 2017
Performed at Cain’s Brewery for the Liverpool Biennial, Guest Projects London for ‘People never notice anything’. Digital Print shown at Golden Thread Gallery Belfast. Photographs Framed Print, sound recording.
In this work I read out a list I have composed of over 200 classifications of class. 

11. Shoe compositions. 2016
Performed at GoMA and Royal Standard. With the audience at performance lectures at GSA and City of Glasgow College.
Sculptures, photographs, plans /drawings and video.
Wearable sculptures for individuals and groups, these shoes are cut together or joined using lengths of wood and hinges. These works effect people’s movement and self-control. People are often thrown together in a game of walking twister. 

12. Dave striker, 2015
2015 at Summerhall Edinburgh and Basic Mountain Edinburgh.
Images, plans, description and objects and drawings.
LED signage-sculpture and programed LED scrolling message board.
This work involves a series of LED signs and a scrolling message board to be worn by a performer who acts like a mannequin. The scrolling message board is programed with marketing phrases such as ‘form utility’ and ‘product placement’. 

13. Squeaky Shoes. 2015.
Edinburgh Art Festival and GoMA performance.
Shoe props/ sculptures, photographs, plans, diary accounts. Video.
I bought a series of squeaky dog toys and sellotaped them to the soles of my old shoes for a lecture at Newcastle University. I read out a text while jumping up and down making a loud squeaky noise.
I performed the same work at GoMA for ‘Devils in the making’ I wanted to make as much noise as possible to fill the gallery space, I used a mic to shout out the text while jumping up and down in the squeaky shoes.
I decided to take my Squeaky Shoes for a walk around Edinburgh for the Arts Festival. It felt like some kind of clowning, I perfected a straight face for the work to send it up even more. It really fitted in with the festival, most people laughed, some dogs were interested in the squeaking. One builder asked me what I was doing and I said ‘It’s a very squeaky day today’. He didn’t like the joke and he repeated it in an angry voice so I hastily moved on.

14. Lemming people, 2015-2016.
For GI at Circus Between Worlds, Summerhall Edinburgh and Royal Standard Liverpool.
Scripts, photos performed at Circus between worlds, sound recording.

This scripted performance relates to ideas concerning evolution, human nature and futurism, relating to Bruce Hood’s ‘Domesticated Brain’ and Yuval Noah Harari’s ‘Sapiens’. 
In this work I perform a script based around human evolution over thousands of years and how we deal with death, also relating to ever-renewing technologies and the madness of the human condition.

15. Abstract Expressionist Performance. 2014.
Photographs, model, description, drawings.
Performed for the Traveling Gallery for Generation.
Wearable sculpture. One-hour performance in front of Tramway Glasgow.

16. Journey Unknown, 2014
Performed, constructed and shown at the Hapag Hallen Cuxhaven, CCA Derry. Outpost Gallery Norwich and The Weingrull Karlsruhe.
Sculptural performance objects. Video walking through Derry, photographs, drawings and plans. 
This work began in Cuxhaven Germany while on a two-week residency and exhibition at The Hapag Hallen, a point of mass European emigration. This work incorporates direction, decision-making, business advice and emigration. Consisting of hand made sewn and stuffed sculptures to wear as performances, and hanging sculptural objects. 

17. Starman, 2014.
Performance at News of the world London.
Plans, photographs, script.
Performance – being spontaneously covered in a silver foil outfit. Standing in the space for one hour. 

18. Time Based, sculptural performance Ready made, 2014
Discordia, PFP, South Block for GI and London Art Fair. 
Photographs, t-shirts, plans and scripts, diary account.
In this performance I change my t-shirt every 10 minutes. Each new t-shirt is printed with a new time, stating that the wearer will become a ‘Time-based, Sculptural, Performance, Ready-made’, at twelve different times throughout a two-hour period. 
During this piece I will stand, chat, walk, sit, blink and move around with my t-shirt on until I become the artwork at the time printed on the t-shirt. After which I will change my t-shirt and await the next appointment to become an artwork again.

19. ‘Got Any Big Sandwiches Coming Up’. 2013 -2017.
Performed at The Common Guild 2013, Baltic Newcastle 2014 and Guest Projects London 2016.
In this monologue I pretend I have been asked about ‘what exhibitions I have coming up?’ and instead I talk up the big sandwiches I have coming up:
‘Well, then, there’s this - BLT in Shanghai and a grilled pepper’s in Sydney on cranberry and walnut bread.
Fucking hell that’s huge man and then what?
I have a blueberry and pork in Cork.
Holy mother of Shit. That’s some massive sandwiches coming up man!’ 

20. Red sauce brown sauce mania, 2013.
Performed at the Common Guild, 2013.
Video work, made for QPRC exhibition Glasgow.
Video work, scripts, plans, diary accounts.
In this work I wanted to capture a period of mania in my life where it seemed impossible to meet up with anyone. I scripted an idea about where and when I could possibly meet a friend and subsequently the excuses why I couldn’t meet. I combined this with pouring red sauce and brown sauce over my face while lying on the ground performing the monologue. The work becomes more manic as it progresses. 

21. Rolling up my sleeves, 2012-2017
Images, script, descriptions. Performed at GI for Everything flows Patricia Fleming Projects event, also performed at Baltic 39, SNGMA 2012, ‘Cain’s Brewery’ for the Liverpool Biennial 2016, Guest Projects performance 2017. Relics/ rolled up sleeves from previous performances.
This work looks at etiquette cultural signifiers and identity, In this work I play with the idea of how far you should roll up your jumper sleeves, talking through the do’s and don’t, critical revelations ‘just above the wrist says you are comfortable with yourself’. Then I toss all the etiquette aside to cut through my jumper rolling my entire jumper up in to two doughnuts, over the years this work had developed through its re-performing several times in different venues.

22. Go over there, 2012.
At SNGMA for Performing Sculpture and the Baltic 39.
Wearable sculpture, Images, photographs, plans, description and objects, 
And written documentation. (Recorded song)
Song documenting materialistic bargains in an imagined store ‘over there’, the song develops into bargains not to be missed of concepts like: ‘clean air’ and ‘real experience’. I moulded this song loosely around Jonathan Richman’s ‘Road Runner’. 

23. Living Luggage, 2010. 
Edinburgh Art Festival, Botanical Gardens, 798 Beijing and Turin Metro station 2012.
Luggage on a shelf, 2010 at MMX Berlin.
Walking luggage, 2010 at The Royal Standard. 
Images, photographs, descriptions, plans. 
(video Edinburgh art Festival and MMX Berlin).
I realised that luggage was an ideal and accessible performance material; I made four different ‘Luggage Works’ in different spaces. These works felt like a set of paradoxical situations, which were precarious. I sat waiting as luggage and owner at the same time, to be picked up by no one. 

24. The History of Wrinkles in Art and Comedy. 2011.
Performed at The Gunther Antwerp.
In this work I use 100 portraits of famous artists or comedians from the history of Art and comedy. I have an assistant draw the artist’s wrinkles onto my face.

The History of Wrinkles in Comedy. In 2015 I spent the day walking around the Edinburgh Arts Festival with my photocopied images of comedians in my hand, asking strangers if they would draw the different comedian’s wrinkles onto my face, building up the first history of wrinkles in comedy. I ended my day at the National History Museum asking staff if they would include my history of wrinkles in comedy, into the collection? They reception staff were great and phoned management to be told no. I did get an agreement from a member of the reception staff that my archival history could be an ephemeral exhibit if I wished. I decided to accept that and photographed myself beside a case with an Eskimo sculpture.

25. Electrical Appliance, 2011.
Commissioned by Goma and performed at Generation Kelvingrove.
Drawings, video, instructions and sculpture.
‘Electrical Appliance’, commissioned and purchased by GoMA 2011. Performed at Kelvingrove Glasgow for
‘Generation’ 25 years of Contemporary Art in Scotland 2014. 
1.5m X 2m Sculpture of a domestic plug, attached to the performer by the cable flex.
The performer lays on the floor and is linked to a large model of an electricity plug by a large black flex-cable, joining to the performers head. This Performance lasts two hours, the performer looks upward silently and motionless. This work responds to a lifestyle and culture revolving around power. Asking how are we going to sustain this energy based existence.

26. 100 death poses with an actor, 2011. 
Originally performed at Mothers Tankstation Dublin as the death poses of Pompeii.
And at Convocation House Johannesburg. With an assistant/actor, 
Photographs, script, plans, descriptions.
With the help of an assistant, I outlined a set of guidelines, instructing the performer to enact a series of dead or death poses in the gallery space each lasting a short period of time around 2 minutes. The entire performance lasting one hour.

27. Lifeless drawing class, 2011- 2013.
Performed in Glasgow for an exhibition at Nogueras Blanchard, Barcelona, 
Turin Exhibition Centre for the 150 years unification celebrations in 2011 and at Talbot Rice Gallery 2013.
Photographs, plans, scripts, drawings and diary accounts
The idea of the lifeless drawing class is that the models are made from cardboard and introduced; I build up the characters and backgrounds of ‘Carl and Yvette’ they are a married couple. We start the class with different life drawing exercises. Everything is going well until half way through the class Carl has a massive heart attack. 
I announce this to the class in high drama.
I rush to help giving him ‘CPR’ but it is too late. Carl is dead; 
‘I am sorry everyone but Carl has just died’.
Yvette is distraught but wants to continue because ‘its what Carl would have wanted’. It’s a shocking situation but now we have an opportunity to draw a live lifeless model and a dead lifeless model. Yvette wants to continue even though she is very upsett.
At the end of the class we put a cloth over Carl.

28. Whats it all about. 2012.
Everything Flows, Patricia Fleming Projects Glasgow for GI. Common Guild Glasgow, Baltic 39 Newcastle.
Text / plans, prints, sound work, photographs. 
In this work I read a text/ list of humorous and anonymous comments people have made to me about my work and the art world over a period of 15 years. These comments range from insightful, insulting, funny and honest.

29. The Life of a finger, selling my fingers (cancelled performance) 2011. 
Photographs, diary account, ten boxes of finger sculptures and cancelled contracts.
Performed at Glasgow Art fair. 
I sold my fingers as performance, lasting until I die. ‘Each movement and action my fingers make is a performance which you own until I die. Anything I do with my fingers is a performance which you can own’. I sat at a little home made sales booth chatting to people at the Art Fair. And so I sold each of my fingers to ten different people at the Art Fair in Glasgow. Over the next days I was organising how to send the new owners the work – the contracts and plaster casts of my fingers and arranging to collect my money (£900). Then I decided to cancelled the work after feeling strange about the whole thing. I started to see my fingers as someone else’s and no longer mine. The project started off as a good idea and a joke that turned serious and real. It felt best that I own my fingers. 

30. Duchamp’s plaster of Paris. 2010 -2017
Performed at The Market Gallery Glasgow, a talk in Newcastle College of Art and Civic Room performance. Photographs and video.
I was giving a talk and making a performance in Paris in 2011, at the artist run ‘Glasshouse’. After the talk I met an art collector Jens, who collects dead artist’s effects, clothes and other items.  
Jens invited me to his home the next day.
The next day I was fascinated by all the different art effects, I seen some plaster in his house with Duchamp’s name on it and asked what it was, 'Its from Duchamp's estate' he said, I couldn’t believe it and said ‘Wow that would be brilliant to use in a performance’, and so he gave me some of Duchamp's Plaster of Paris in a jar, I couldn’t believe I had it, I was so excited.
So for this performance I threw some of this Plaster of Paris onto the audiences like an art blessing. Gold dust. I still have some of Duchamp’s plaster of Paris in my studio.

31. Living the dream after death. 2010
Photographs, plans, diary account, drawings.
Plans drawings performed at GAK Bremen
I was researching Steven Parrino looking at his work and success. I came upon this idea of making a large painting to sit in for a performance at GAK Bremen. I asked for a large black canvas to be made, in the gallery I cut it’s stretcher in half and cut holes in the body of the canvas for my arms legs and head to stick out as I sat on the floor. I sat poking through the canvas for two hours on the opening night. I did not respond to anyone.

32. ‘Health and Safety Effect’ 2010.
At Deveron Arts Huntly, Stills Edinburgh and for the West Midlands Fire and Police service AGM. 
I spent three months in Huntly at Deveron Arts compiling an A to Z of Health and Safety.
Reading out my A-Z of Health and Safety Effects, which we made into a publication, looking at the good and bad sides of Health and Safety. Some of the information I embellished a little. I didn’t get the laughs I was hoping for at a performance of Firemen and Policemen in Birmingham at their AGM.

33. Pen lids performance, 2009
Photographs and plans. Performed at The Ikon gallery Birmingham.
Paper-Mache sculpture performance, International 3 Manchester 2009.

I became interested in Bic Pens and the design introduction of holes in their lids to protect people from choking on them. Bic introduced the holes in their pens in 1991. I remember the moment at school, the change in my pen lid. For this performance I stood in the Ikon Gallery Birmingham foyer for a day breathing through one Bic Pen lid in my mouth and one in each nostril. I subsequently made a large Papier-Mâché Bic Pen lid to wear on my head for an international 3 performance in Manchester, dressing like a Bic pen.

34. Complaints, 2009
Performed at Glucksman Gallery Cork 2009.
Plans scripts, diary accounts, drawings, Video of the performance.

Wanting to make an alternative gallery reception desk, I decided to paint ‘Complaints’ on the front of my little cardboard desk. I set myself up as an alternative official, with a name badge and clipboard talking to people about any complaints gave me from Airlines to broadband and phone charges. Performed in the Gallery and in Cork City centre.

35. Coloured hair performance, 2009.
Liste Basel 2009.
Plans drawings.
Photographs, video of the performance, digital prints.
‘Colored Hair Performance’. 2009, Liste Basel. Commissioned by Liste Basel. Curated by Silke Bitzer. 
I grew my hair really long, down to my shoulders for this work. In this work I lay on the floor with my long hair straightened out and had an assistant, he poured orange paint on my hair. I remained on the floor for two hours as the paint dried. Then I was cut away from the paint, leaving an orange painting that also contained my hair. I produced a series of photographs, prints and a video about this work. 

36. ‘Running for the tram’, 2010. (Running for the Bus 1999).
Amsterdam. Commissioned by De Appel Amsterdam. 
Performed at De Appel 2008.
Video work and photographs, diary account and plans/description of the performance.
For this work I spent one-day running for trams that were beyond catching. After missing one tram I would then walk back to the same tram‐stop and repeated the action again. I continued like this throughout the day. People started to notice the performance and a crowd gathered to watch the piece. Shopkeepers looked out at the work. Tram drivers noticed I was up to something. This work is a repeat performance from ‘Running for the Bus’ performed in Glasgow in 1999.

37. Just popped out back in two hours. 2008
Owned by GoMA, performed at Zoo art fair, London, GoMA, De Appel Amsterdam, The 798 Art Festival Beijing, The Ikon Gallery Birmingham and The Kelvingrove Museum Glasgow for ‘Generation’.
‘Just popped out back in 2 hours’. 2008, Commissioned by ‘Mother’s tankstation’, Dublin for Zoo Art Fair London. Also performed at: 798 Beijing 2010, De Apple Amsterdam 2010 and at The Ikon Gallery Birmingham 2009. 

In this work I sit motionless and silently looking forward with my mouth open for two hours. A post‐it note is stuck to my forehead. The post-it note has a hand written statement which reads ‘Just popped out back in 2 hours’. This work has been performed by assistants on three occasions. This work explores the total absence of consciousness in a living breathing body. For this performance I use the meditation technique of counting out-breath into myself to remain still and concentrate on my task for two hours. The audience often try to put me off and sometimes make of-hand comments as if I am really not there. ‘You just want to slap him’ one person said to a friend as they looked at my performance.

38. Regulations for Irrational Procedures 2007-2017.
Performed at Mothers tankstation Dublin 2007, Scottish National Gallery of Modern Art Edinburgh 2012 and the Civic Room Glasgow 2017.
Photographs, descriptions and plans, diary accounts.
In this work I bite a crescent from the top of my thumbnail and stick this crescent onto the end of my nose with masking tape. Pointing out.
In this performance I make a subtle work that is akin to nothing happening, I want to challenge the idea that a performance has to be an entertaining, sensational event. The crescent can point up or down, the performer stands still and silently with the thumbnail pointing out from the tip of the nose for up to one hour, or it can be a short performance of 2-3 minutes.

39. No Rolo. 2006
Made while on Residency in Bamberg Germany. 
Photographs, text, 18 bought packets of Rolo, diary accounts.
In this performance I went into a shop buying all the Rolo’s in the shop, after coming out of the shop with 18 packets of the sweets, I sent a friend/ assistant into the same shop to ask the shopkeeper for some Rolo’s. I dictated my friends experience and the conversation with the shopkeeper when he came back from his ‘No Rolo’ escapade. ‘You wouldn’t believe someone just came in a bought all my Rolo’s’ the shopkeeper explained.

40. Great meals I never had. 2006.
Text, diary account.
I went to a series of restaurants and sat down outside where people had just finished eating a meal, where their plates had not yet been cleared away. I tried to decipher what the meal was from its remains. When the waiter came over to me I said that the meal was ‘fantastic’ and then tried to pay for it pretending I had just eaten it. I didn’t succeed on many occasions but on one occasion I did succeed in paying for someone else’s finished meal. It was the greatest meal I never had.

41. Brushing Teeth, 2004 
Creative lab residency at the CCA Glasgow.
Scripts, diary accounts, 
video work 2004.
During a creative Lab residency at the CCA Glasgow. I advertised in the Evening Times newspaper for the job for a ‘tooth brusher’. To brush my teeth every morning for a month, visiting me for less than 5 minutes each morning. I wrote up a job description and interviewed a series of candidates in the CCA with the CCA staff. We choose a lady called Anne from Glasgow. The job lasted one month. I videoed each morning having my teeth brushed. I also got to know Anne quite well. After it was over I paid Anne £400 and missed our morning chats. 

42. Confrontationally Polite. 2001
Shown at Transmission Gallery Glasgow.
Photographs and Text.
In this work I buy a series of items in a shop and confront the cashier/ sales-assistant with politeness, by thanking them repeatedly after paying and receiving my change. I thank the sales assistant repeatedly for some minutes, It was an odd experience akin to madness. The sales assistant got pretty irritate. 

43. Serial Psycho interviewee 2000-2002.
A self published diary in an edition of 200.
For this work I applied for and attended a series of job interviews, which I had no intention of doing or accepting.
My interest was to observe the interviews and to interject, upsetting the normal interview structures. I spent some months making this work making phone calls and sending off letters. I gained five interviews, bought specific cloths and shoes and had an interviewee haircut. All of which I documented in a self published diary. All of the interview experiences were pretty strange in their own way. I can remember one maniac interviewer saying that I was ‘Just the ambitious kind of person they were looking for, to sell holiday packages to old people’. 

44. Advancement Into Retreat. 2002. 
ICA London and CCA Glasgow for Becks Futures 2013.
Photographs, notes and plans.
I had an old framed door installed in the pavement on St Vincent Street Glasgow. The door was opened slightly and I stood behind the door. I dressed up like an old lady wearing a wig and a dress. I stood behind the slightly opened door situated in the pavement. I was smiling out at people walking by, I tried to smile like Jack Nicolson’s ‘Here’s Jonny’ scene in the ‘Shining’. On the front of the door was the works title: ‘Advancement Into Retreat’. People wanted to know what I was selling, I can remember an interesting group of men, giving me some abuse.