Adaptive reuse and exfiltration (2010)
Negative plan with drawing detailing route from Whitechapel Gallery's entrance to Zilkha auditorium.
Material Choir (2013)
'Choir East' sing the material structure of Siobhan Davies Studios in expanded notation.
Nothing is dark as the memory of darkness (2016)
Eastside Projects, Performance as Publishing: Take One
Ode HB710 (2012)
Amplified reading from auto-cue with delay,
Wysing Arts Centre
It is more (2011)
23" x 16", Charcoal on paper, partly erased unfinished statements..
So and so to so and so (2010)
Reading from auto-cue, Volt / USF Gallery, Bergen.
Is it better to ask questions or to answer them?
(2008 - ongoing)
Question posed at selected artists talks.
Where petty theft sleeps (2006)
Reading from auto-cue, Arnolfini, Bristol. 2010
Lambeth lecture (2006)
Reading from auto-cue, Dan Graham's Waterloo Sunset at the Hayward Gallery.
The cappuccino hegemony (2005)
Reading / performance, Real Estate, London in six easy steps, Institute of Contemporary Arts, London
On a road journey between Gent and Bremen every word read was spoken into a dictaphone. The words were transcribed and performed from an auto-cue.
Choirs notation contructed entirely from language taken from Sarah Wigglesworth Architects material specifications for their design of Siobhan Davies Studios. Each singer’s individual score expresses the material surfaces and substrates through which they pass.
Commissioned by Siobhan Davies Dance and Independent Dance.
Second iteration of the durational performance and installation Langue cassée, L‘Usine LU, Nantes, 1995. Both works force a marriage between artifacts linked to two of the most seminal and yet seemingly unconnected figures of 20th century avant-garde art and literature - Marcel Duchamp‘s Porte-bouteilles, 1914 (bottle rack) and Jack Kerouac‘s Royal typewriter and scroll (infamously used for writing On the road 1953).
Nothing is as dark... introduces 4-channel CCTV and live streaming to broadcast this process based cut-up. The new focus invites connections between the seemingly arcane mechanical, chance procedures of language production used in the original work, with that of today‘s networked social media.
Performances and screenings:
Constructed entirely from language taken from Hawkins and Brown Architects material specifications for their design of Wysing Arts Centre and reformatted following the principals of the English romantic Ode made popular by the poets John Keats and Samuel Taylor Coleridge. The recital of the Ode was amplified within the building it described employing a digital delay to react with the inherent resonant frequency of the Wysing Arts Centre building.
>>>> The Imaginary Reader
The Imaginary Reader is both an anthology of commissioned texts by a variety of writers, artists, critics, art historians and philosophers and an exhibition in the form of a book with several artworks. The book is meant as a stimulus to thinking about the imaginary and the relationship between fiction and reality. By way of artworks, experimental texts and reflections it offers a range of angles and ideas on different aspects of the imaginary.
>>>> Available from VOLT, Bergen, Norway
Notes taken from psychological studies concerning the different roles of the right and left hemisphere's of the brain in relation to perception cut with an instruction manual aimed to help people develop right brain excercises in order to be more creative. Dave Carbone accompanied the reading using only his right hand and foot to play the drums.
The Chronic Epoch - 10 years of Beaconsfield Gallery. (2005)
A confrontational collaborationn with the artist and drummer Dave Carbone. Facing Carbone as he plays drums Coy repeatedly shouts a series of statements that appear as surtitles. Each has been extracted from one of a number of sources including contemporary art conferences and the spiel of a museum tour guide, making for compulsive, surreal and humorous incantations. Carbone’s semi-destructive rhythms are played till the point of exhaustion giving the work its duration whilst forcing Coy’s pattern of speech.
Where petty theft sleeps  employs the Oulipo stratergy of "univacula language" to translate Sol LeWitt's 'Sentences on Conceptual Art'. Retaining the same number of words and grammar as the original the work is comprised from a vocabulary of words that contain no other vowel than 'e'.
The Lambeth Lecture cuts together three original sources from The Lambeth Archives: an index of street names beginning with B; headlines and bylines associated to Lambeth council in the 1980's and the personal papers of Herba Loebenstein 1937 - 1940.
Notes taken during a lecture series at the exhibition Real Estate: London in Six Easy Steps, Institute of Contemporary Arts, London were read back and performed as a lecture for the exhibition Real Estate: London in Six Easy Steps, Institute of Contemporary Arts, London.
Taken from the book 'The complete writings of William Blake' each of Blakes first lines was scored to a different rythmn by Dave Carbone and read according to alphabetical ordering. Index of first lines was performed live at the Museum of Garden History. The church is just round the corner from Blakes former residence in Hercules Buildings.
Performed as part of the event Cloud and Vision with performances by Brian Catling, Polly Gould and Manuela Ribadeneira.
Notes taken from a 10 minute spree of dial surfing through local London FM radio waves then read back on live radio with drums played by Dave Carbone.
Bob and Roberta Smith's 'Make your own damn music' Resonance 104.4 FM.
Notes taken during Team build, an event concerned with interpretations of "socially engaged practice", were read back verbatum as a performance for camera infront of the Baltic Centre for Contemporary Art construction site.
The subsequent video was played back to the delegates, including those who had originally spoken the words.
Notes taken during presentations by town planners and architect Will Alsop for a public consultation in West Bromich organised to garner local opinion with regard to the building of a new arts centre currently called 'The Public'. These notes were then read to camera from the top of West Bromich's tallest building.
The subsequent video was presented to the delegates, including those who had originally spoken the words.
Wikipedia article on 'the public'