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A large transparent inflatable tube the public could enter and which, depending on the context of presentation, functioned as an expanded cinema and performance environment, playful interactive space and architectual corridor.

A row of three large parachutes were fixed around their perimeter to the floor and continuously inflated with air. A light bulb above each parachute was the only illumination in the installation, and they were individually activated by the pitch and

A high volume of air was blown from below into a long open-ended polythene tube caused it to flap around wildly in the sky. Smoke and confetti could be added to the air stream.

The Airgrounds were a new genre of air structures comprising soft, responsive architectures the public could interact with. At the Brighton Festival a pyramid-shaped inflatable with a transparent outer skin and yellow inner skin, partially inflated

The film Continuous Sound and Image Moments (1966) was projected onto a live performance of professional female mud wrestlers.

In the Alpevent white polythene tubing was slowly inflated inside a somewhat confined space. The people there dragged and wove the tubing around their bodies, but expanding plastic gradually pushed many of them out of the room. A further performance

Disillusion of a Fish Pond was one of three performances during the exhibition This is no Thing - This is a Situation of Opportunity at the Kingly Street Gallery in London. In this work a naked woman swathed in bandages of cotton-wool was sitting at

This work was one of three performances during the exhibition This is no Thing - This is a Situation of Opportunity at the Kingly Street Gallery in London. Viewers could interactively control the inflation and deflation of transculent white surgical

Striptease films were projected onto a woman doing a striptease. She struggled to remove her clothes while tightly encapsulated inside an inflatable balloon-costume. When she was naked a masked figure inserted the nozzle of a fire extinguisher and