The works I have created for this exhibition continue my exploration of industrial architecture. My work aims to reveal the atmospheric epicentre of industrial sites – the point or zone where the atmospherics collide and can be captured or revealed.

Growing up in Newcastle as the son of a steelworks Engineer and being influenced by Contemporary Art and post-punk music, my artwork has utilised ‘found’ industrial materials and sonic elements in photo-media, videographic, sound and installation works since the early ‘90s.

Andrew Tarkovsky’s 1979 film Stalker, a favourite of urban explorers, is set in a post-apocalyptic landscape. In the film a writer and a scientist are guided into ‘the Zone’ by the ‘Stalker’. It is said that within the Zone, strewn with rusting military vehicles, overgrown estuaries and forest, there is a room where one’s deepest wish can be granted.

At the Power Station, following our guide who was a young Electrician, my search for a critical mass was mediated through his familiarity with the sprawling cacophonic spaces. I discovered a high-pressure water jet under heavy metal floor grating, and this unrelenting torrential force compelled me to stop while journeying through the industrial leviathan.

My ‘photo-assemblages’, destabilised by surface layering of glitch-like white geometries, reveal the catharsis of the dark industrial spaces. A wall-mounted screen displays video of the high-pressure water jet. The video image is abstracted by the infiltration of static and glitches through mixing the video and audio signal on the screen. This creates a meta-abstraction of the image, fusing sound and image together as one deteriorating signal.