Ashleigh Griffith has lingering disciplinarity issues.

The accumulated weight of memories, guilt, emptiness and every household item bought and owned over 7 years (2.23 tonnes) buried into the ground of the concrete city in which the I was born.

A physical exploration of seaweed and its return back to the sea, with Mads Floor Andersen.

The Happiest Man in Town
A swallowing of guilt and red thread, to be spat out, framed and hung.

The Birth and Death
Exercises in becoming other people, with Sheena Patel.

The effect of adding another zero
A papery bookwork that holds environments within pages.

We Were Never Here
Paper conversations pulped to enable conversations about paper.

Not worth the paper it’s written on
Paper money as art, sold at just under its current street value.

Take me, I’m Yours
Choreographed text messaging. The best excuse you’ll get to stare at your phone all night.

Down for you is up
An attempt to physically break the internet. One tonne of bricks, twenty packs of matches, and a selection of quiet, public outpourings of grief.

about: blank
A wrapped, paper room; an offering to let a room perform itself.

I can’t make new memories since
Twenty four years worth of objects that mean nothing; carefully catalogued and organised, then thrown into a pile. All catalogues burned but their cinders kept.

Endless Numbered Something
A performance and simultaneous re-performance of the memories and forgettings of Northampton.

One Stop Shop
Car-based dialogical exploration of capitalism starting at Milton Keynes IKEA (the latest) and ending at Malmö IKEA (the first) with only pitstops along the way.

Much of Ashleigh’s current focus is on her work with Tracing the Pathway. Please visit for more information on the work the collective develops.