Richards received a Masters degree in Fine Art from Chelsea College of Art and Design in 2004. Since then he has been continued to make art as well as organising exhibitions, music and performance events. His work has been seen and heard at: Working Rooms, Affluenza, Project Space 176, Meals and SUVs, Sightsonic: York International Festival of Digital Arts, Resonance FM, Sounding Out: Festival of Sound at UEL, Interlace at Goldsmiths, and Factio at Emerson Studios. Recently his work has been included in 'Handmade Electronic Music: the Art of Hardware Hacking' (Nicholas Collins, Routledge 2009). He lives in London.

His work playfully and critically intervenes with everyday technologies. With careful reprogramming he abstracts and mutates machines, causing them to malfunction, creating new possibilities, new creative purposes and genealogies for past and present technologies.

He experiments with 'errors.' Extracting alternative or nonsensical electronic functions from familiar objects as diverse as TVs, radios, cine-projectors, lights, turntables, toys and microchips he creates multi-sensorial sculptures and installations. These objects and systems borrow from, and sometimes fetishize the visual language of both domestic and industrial appliances. Meanwhile awkward, random and repetitive rhythms operate between music and cacophony. Patterns and pulses - digital bits and bytes - all reflect on the internal functioning of the technologies of recent times. These electronic devices are, literally, left to their own devices as self-orchestrating, lobotomised mutants of the Mechanosphere.

These technologies of the machine may be read alongside technologies of the self, which ask what are the limits, the interdictions, imposed on experience by the sciences: how can existence be engineered differently?