Floribots consists of 128 computer-controlled robot origami flowers, arranged in an 8-by-16 grid and spread over 35 square metres of floor space. Each robot flower is able to extend telescopically from a rest condition to grow one metre vertically, then suddenly invert its origami “flower” into an open “bloom” state. The unit can also re-contract back down into its latent condition and refold its origami bloom back into a “bud”. Floribots acts as an interactive collective organism with ‘hive mind” characteristics. It is capable of sensing audience movement and of adapting its behaviours accordingly. It is a “field of flowers” that dances in unison, with choreography provided by its embedded microcontroller. The flower matrix can exhibit complex wave propagation behaviours as well as describing responsive surface features and entering periods of chaotic motion. The Floribot mind is able to control transitions between these states and can “learn” as it is runs over time by acclimatising itself to an installation site and developing a particular set of behaviour preferences. Shortlisted National Sculpture Prize, National Gallery of Australia 2005, Winner Peoples Choice Award, National Sculpture Prize. Also exhibited at Perth Institute of Contemporary Art 2007, and Singapore Art Museum 2010.

Optic Alley is an interactive laser installation consisting of sixteen pivoting green lasers mounted along a twelve metre stretch of narrow laneway. Optic Alley incorporates four motion detectors and a computer control system so that pedestrians approaching the installation trigger a cascading sequences of laser deflections to create waves that progress down the alleyway until they dissipate. Optic Alley sets up the potential for a dance-like performance to emerge, as pedestrians move and sway in response to the lasers and Optic Alley responds in turn to the movement of pedestrians. Optic Alley is the result of a Research and Development grant from the Perth Institute of Contemporary Art and Cultural Sponsorship from the City of Perth

Essentialiser is an interactive appliance incorporating 60 small industrial red lasers, installed along three axial mounts. Each laser produces a fan-beam that creates a perfect plane of red light. The effect is that anything or anyone inside Essentialiser is embedded in a matrix of 6,859 ten-centimetre wide cubes of red laser light inside a two-and-a-half metre cubic enclosure. The enclosure is darkened internally and screened from outside light. Audience participants are able to pass through a door and enter the space where the 60 beams trace lines onto their bodies. The visible effect of the incident beams is picked up via an infra-red video camera and displayed, on a feedback monitor inside the Essentialiser, as well as on a large outside monitor, for the gallery audience to see. Collaboration with Rickie Kuhaupt. Essentialiser has been exhibited at the Perth Institute of Contemporary Art and at Collaborative Concepts Gallery in Beacon, New York USA.

Transfiction uses a laser projection to redefine the surface of a built object - Commonwealth Place, in the Parliamentary Triangle, Canberra. Transfiction’s departure point is a line-matrix or ‘wireframe’ representation of a flat surface. However, rather than projecting only ‘true’ or straight laser vectors onto the built surface, Transfiction uses scanning laser technology to project distorted and altered lines and webs. The work explores fictional geometries,  where the rules of solidity and linearity are temporarily suspended. Located at the symbolic heart of our nation, this work was commissioned by the ACT Government as the entryway to 24:7 Public Art Programme of 2005. 

Bubblesort is a famous software sorting algorithm. This sculpture actualises the virtual bubblesort construct and credits it with agency and interactive potential. Exhibited Sculpture by the Sea, Bondi and Cottesloe.

LaserWrap is a permanently installed animated laser sculpture that illuminates the ACT Health Building for three hours each night. Twenty green lasers literally wrap the building in a gently undulating matrix of light cubes. LaserWrap has had a transformational impact on the quality of the built environment in the nightlife precinct at the heart of Canberra. A new and unexpected addition has been made to the solid presence of a 1970s public building - in the evening it comes to life, transformed like the pumpkin before midnight into an otherworld vision. A functioning building is transposed to a plastic, performing, chimera. The artist's vision entailed embedding an existing built object into an active laser sculpture. They wanted to take the classic mathematical system of Cartesian 3-D co-ordinates - consisting of x,y, and z axes - and use it as a metaphor for a virtualising, postindustrial worldview. They wanted to apply this metaphor on a massive scale - the huge step-pyramid presence of the ACT Health Building provided the prefect platform for this experiment. Collaboration with Rickie Kuhaupt. This work was an Exemplar, Year of the Built Environment, 2004.

Torso is a life-size human figure derived from a body cast of one of the artists. The outer parts of Torso are made from mirror-polished stainless steel, while the central section is made from a resin-bonded composite that consists of 75% powdered white marble. The effect of the figure so rendered is that the trunk and extremities are separated visually, while remaining physically contiguous. The central torso makes reference to archaeological remnants of heroic figures from Greek antiquity. The marble used as the material for this part of the work also plays to this classical reference. The outer parts of the figure are encased in 'gloves' of reflective metal that evoke the hi-tech / sci-fi 'chrome' signifier. Collaboration with Rickie Kuhaupt. Finalist, Helen Lempriere Sculpture Prize.

Quadrascope is an omidirectional interface device that displays a large-scale animated version of Chromeskin on each side of a telephone box-sized rectangular prism. The device displays images derived from the Chromeskin laserscan data, processed against the current visual field around it. Observers are able to walk up to and around Quadrascope and approach its surfaces closely. On each face a representation of mirror surfaced Chromeskin is displayed, with the figure reflecting and reacting to the movements of the viewer in realtime. The device is a kind of 'fishtank' giving the impression of a chrome body floating within a rectangular volume. The machine uses four networked computers, four video cameras, and four 130cm plasma flat panel displays. Quadrascope is driven by synchronised 3-D rendering software written especially for the artists by headus (metamorphosis).

Quadrascope forms part of the Chromeskin project. Quadrascope was created in collaboration with Richie Kuhaupt. Finalist and Highly Commended Award, National Sculpture Prize, National Gallery of Australia 2001.

Neural Network consists of 18 nodes, regularly distributed over a mirror-reflective matrix-form. As the viewer changes orientation the nodes appear to intermittently make and break connections with adjacent nodes. Chrome surface produced by electrofoming over fibreglass. Winner, Princess Margaret Search for Genius Award.

The key process of the Geoffrey artwork is a single-point ocular gridding of the installation space. An ideal perceptual checkerboard that is suggestive of networked and delineating technologies, as well as linear and ordered mental systems. Of course, the act of observation always influences the observed phenomena, but in the case of Geoffrey a transient act of observation has been crystallised as an observable system in itself.

In a sense, Geoffrey depicts a sensorium, an inner space or Cartesian theatre where mental processes are played out. In here, Geoffrey is both actor and audience, caught in the cycle of his own awareness. Geoffrey: information technologist, man-who-would-be-robot, logician. Under the perfect ordering principle Geoffrey is rendered monodimentional. Outside the system there are glimpses of another Geoffrey: fat man, artist, person.

Geoffrey was created in collaboration with Richie Kuhaupt.

Pangenesis is a theory of inheritance where genetic information is derived from all parts of an organism. Pangenesis has been discredited in the organic context, but may be a viable schema for reproduction of virtual lifeforms. In this work a virtual being has just reproduced via fission - producing three new offspring. Under pangenesis each offspring has a complete genetic record.

Jacobs Ladder is the ladder leading to heaven as seen by Jacob in his dream; alternatively, it is a device for generating a series of high voltage plasma arcs that ascend between twin diverging conductors before dissipating into the atmosphere.

Lasercube is a programme exploring the application of planar beams of laser light to describe surfaces, objects and landscapes. The core Lasercube technology involves 60 industrial lasers with hemicylindrical lenses. These are mounted on armatures arranged along the x, y, and z spatial axes. The project encompasses the capture of laser effects via video and still photography and the digital manipulation and presentation of these images. The project crosses boundaries between photography, dance, video, performance, and installation artforms. Lasercube is a collaboration between Drake-Brockman and Kuhaupt and, in its dance/performance realisation, the Skadada performance troupe.

Laser beams are coherent, absolute agents that will be used in this project to introduce gridding and dividing systems applied to realworld objects. This will be done in order to conveniently reduce the object under investigation to its bare spatial necessity. Lasercube is a collaborative project with Richie Kuhaupt. One image shown is of a performance piece (Lasercube II) developed in collaboration with Skadada, dancers; Jon Burtt and Lucy Taylor.