Nigel Ayers
Since 2005
Works in Lostwithiel, Colorado United Kingdom of Great Britain and Northern Ireland

Nigel Ayers is dedicated to expanding the possibilities of Interactive Art through a combination of art installation, activism, text, online activity and physical objects. His work manifests in the form of books, sculpture, t-shirts as well as in performance experiences.

Having been long involved in experimental music he has recently concentrated on the possibilities of the sound art installation, integrated within the poetic qualities of material objects.

His work examines boundaries between the exotic and the infra-ordinary. Since 2006 he has been involved in an in-depth exploration of the geography, folklore and cultural resonance of place; notably in a series of documented ritual walks on Bodmin Moor.
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Portrait of the Artist as a Young Man

Mon May 19, 2008 00:00 - Mon May 19, 2008

United Kingdom of Great Britain and Northern Ireland


Portrait of the Artist as a Young Man

performance piece running between 11 and 5 pm, until 31st May

Live Web Cam:

‘Man is a bridge between the apes and the Supermen; a laughing stock.’

Friedrich Nietzsche

Two Crosses is a solo exhibition by Cornwall born, London based artist Daryl Waller taking place at Goldfish, Penzance.

This will be a major exhibition of paintings, sculpture, installation and performance.

The performance aspect of the show, titled 'Portrait of the artist as a young man', will span two thirds of the exhibition and will involve the artist dressed as an ape-man, confined / sheltered in a cage, painting to request / demand.

Artist Statement

For balance and control, a battle rages in my soul
Am I monkey am I man?
One finger holding back the dam
Confusion was all right
Till it kept me up at night
Heavy breathing okay
Till it took my breath away
Now I feel like I've just begun, I feel I've just begun

Lou Barlow, 2006

Two Crosses isn't about just one thing, it doesn't have one overall theme, and I'm unable to sum it all up in a few sentences. Nothing is about just one thing. For me I see the little advances I've made - in colour, form, shape and composition, although I doubt these would be of importance or interest to anyone else but myself.

I often read that musicians have the melody buzzing around their head, and need to get in down, this interests me a great deal, how does the tune get there? Why did it form? What purpose does it have? Why do some people think this way while others don't? The only melodies I have in my head are ones other people have recorded already; they fill my minds-
ear and never seem to leave. I can only assume that this must be similar to the way I imagine images in my mind. Shapes, colours and abstract scenes mush together with the things I'm reading or find interesting. Eventually, exhausted at being stored they spill out, sometimes in the way I've envisioned them, other times I need to work harder. A tutor once told me making art was like being sick, only it was up to me to pick out the carrots - for a long time I've been concerned with the carrots but now I'm beginning to refocus on the sick.

Daryl Waller, 2008

See also:


Speaking of YouTube...

Hi Pall,
I get your drift, but I don't agree. By calling yourself an "artist" you are self-selecting. Although that may make you part of a self-selected "elite" that doesn't mean you have to be "elitist".
Thanks for the welcome to the club, though. Wheres' the bar?


Speaking of YouTube...

As a non-elitist artist I likeYouTube very much. I know it's a mess, but this is what happens to any open-access system. For me, it's a natural progression from what some of us attempted to do years ago in mail art and 'zines and should be thought of in that kind of context, as a human communication system that goes beyond what the art-world can do.

For example, you don't have to live in a metropolitan city to access it. The main drawbacks are censorship, copyright issues, corporate crap, and banal information overload. And it's no way to make money.

There are very specific aesthetics about Youtube video. The computer screen gives a kind of intimacy that art-venues don't have. The pixellation and frame rate are important factors.
The fact that there is no selection and that file storage is free means that a form of television is becoming accessible to larger swathes of the population, and you don't have to worry about bandwidth.
And it doesn't have to be art.

I've always liked taking my films & videos out into music venues, to non-art places, nightclubs, artist- run venues. I work on zero budget and my work is often personal and intimate, I value ideas like spontaniety and improvisation. I don't own a plasma screen or a video projector and I don't subscribe to the constant drive for flashy new equipment. I have never found art galleries , or arthouse screenings to be an ideal place to view or display videos.
After producing and distributing video on VHS using mail art and underground music networks, I had many screenings in art-world places (such as Tate, ICA and NFT) in the mid 80s. The meaning of video changes when taken into these art-contexts, I find many of the same corporate and class values are embodied in "the art world" as they are in broadcast TV. Those status concerns are definitely not the reason I make videos.

Bandwidth is expensive. If a non-corporate alternative to YouTube arises, let me know.

So all in all, I think artists should regard YouTube as they should any other medium. It's something you can make art out of, if you want to.">>



What I was meaning was the late 60s reference is the so much of this "interventionist" street art draws heavily on the theories and practices of 60s and 70s artists and activists who were highly critical of the dominance of military, political and commercial interests in mainstream media.

I would say that focussing on the novelty of the technology that is used to create can perhaps draw us into a consumerist mentality,
that is something is good or "creative" because it uses a new(ish) gadget,
and so you lose the essentially socially interactive interactions of this kind of thing.



Grumpy old git that I am, it caught me in a cynical mood. I was put off by the presentation of the video with the David Blaine - style reaction shots and the upbeat music.
I like the utopian kind of thing and I like how this '68 stuff is re-surfacing and to see the return of that great '70s dance, the standing still.