My current research focuses first and foremost on ‘ecological affect’: the way wordly beings and things (animate and inanimate, sentient and not) cause us to rethink the centrality of ‘the human’, through unmapped webs of co-dependency and cross-ontological affinity.
Drawing on recent theory associated with new materialism, the non-human turn in the humanities, and the frame of the Anthropocene, I am interested in how writing, performance, art and film can find ways of troubling the ontological status of the human, in order to draw lines across species boundaries.
My 2016 book In Place of a Show: what happens inside theatres when nothing is happening, considered the affective potential of things and non-human animals: dust motes, curtains, termites, swallows, rubber trees and rubble become the main ‘actants’ in theatres which have been abandoned or left unused.
My two-screen video work Diorama (2013) featured a sheep walking around an otherwise empty theatre stage, and an actor in a field performing the same actions in synch with the sheep.

Connected to this ecological investigation is a professional body of work in conceptual dance performance, produced between 2006-2011. Here I worked with reduced means to deconstruct the theatrical apparatus, and prize open questions around the co-presence and co-authorship of performers and spectators. I made several works for theatres and galleries, in the UK and further afield, including commissions for La Casa Encendida (Madrid), TanzQuartier (Vienna), the Nightingale Theatre (Brighton), and Camden Arts Centre (London). Works are documented at

A further strand of performance-based research concerns magic and illusion. Taking on the pseudonym Vincent Gambini, I present theatre-based magic performances that deconstruct the framework of magic itself.
This is not a magic show has toured the UK to critical acclaim (a thoughtful, playful and multi-layered piece’, The Guardian, 4-stars). I continue to explore how magic, as a ‘popular’ form of entertainment, can be approached and dissected through the tools I have learned from performance art and meta-theatre. Ongoing works are documented at