PROJECT: 100.Exhibitions
Duration: 2025

In 2025, I undertook one of the most sustained and formally rigorous projects of my career: one hundred distinct exhibitions, released sequentially across the year on Instagram, each with its own theme, artwork, written statement, and a version of myself speaking directly to the viewer. The project extended a practice I had been developing since 2012, in which digital space functions as a legitimate exhibition context, independent of physical infrastructure or institutional sanction.

 

 

 

Each exhibition was built from three distinct parts. The first was the exhibition itself: a selection of images presenting the work as a hanging show. The second was walkthrough footage and close-up documentation designed to simulate the look and feel of a physical space. The third was a written statement explaining the concept, delivered by a lip-synced avatar of myself, a black-and-white image-to-video production using a recorded voice track. This was a kind of performance of authentic engagement, an attempt to speak sincerely about art from within a construction that made sincerity impossible to verify.

 

 

 

The work arrived at a particular moment. AI image generation was still unfamiliar enough to most audiences that the exhibitions read, for many viewers, as genuine physical shows. I did not claim they were real. I did not claim they were not. The public responded to what it saw, and what it saw looked like evidence. This was not deception as end point but as inquiry into how authenticity is perceived, how credibility is constructed, and how readily the eye accepts what it sees.

 

 

 

For years I had accumulated in notebooks sketches and artistic propositions I lacked the resources to realise. The arrival of generative AI changed the terms of that problem entirely. 100.Exhibitions became the mechanism through which a backlog of ideas could be externalised, one after another, without the intermediary of institutional support, commercial viability, or physical infrastructure. The project is at once a study in discipline, a test of the image’s authority, and a sustained argument for what becomes possible when an artist stops waiting for permission. It is also the most concentrated expression yet of a question that has run through my digital practice from the beginning: what makes an exhibition real, and what makes an artist authentic.