University of Brighton, 2007, BA
My current artistic practice usually begins as a journey of exploration, almost in the classical sense. Journeys have included visits to slate quarries in Wales (to examine the link between the quarries and past working communities), to Iceland to research volcanic topology (for my Royal College MA thesis ‘The Entropic Landscape’) to Spitsbergen, Arctic Circle, to develop artwork derived from an experience of sharp seasonal divisions, such as between light and dark or intense cold and fleeting warmth. And most recently to Greenland to record the sound of carving Ice. The landscapes that I am most interested are those which incorporate visual and aural effects of change and transformation, whether it is expressed through the dramatic or dull, loud or silent. In all my work I want to ask the audience to look beyond habitation in moments of time to prompt questions about larger expanses of time (geological time, seasonal time, human life-time, etc.) and about our relationship with nature, given that our sense of nature is a product of an urban, over-socialised existence.
In recent explorations I have drawn together past and present experience (scientific, artistic, communal) of geological phenomena, examining links to the historical and the everyday in order to map how science, features of the local ecology and human experience of place interrelate. Such concatenations of viewpoint, I have found, appear almost as palimpsests, being established in the form of layered histories if inevitably fading pasts. If this search for a vision of place leads me to cross-disciplinary boundaries, I have found that an interdisciplinary approach also guides my artistic practice too. In my attempt to engage with natural events – some of which stretch across geological time, others which might be visually rapid - I deconstruct and reconfigure form and content through multiple media, including photography, video, collage and three dimensional sculptural works. There are recurring elements of my work, which take different forms, reappearing and re-establishing themselves in different contexts. For in attempting to contextualise found objects from different locations I give attention to the microcosmic, the overlooked or the concealed, the incidentals of existence which give texture, uniqueness and complexity to place.
Though ideas and imagery within my practice explore characteristics of place the production of my work is studio based. Often playing with sourced objects and materials, I am motivated by certain ideas about these substances and the knowledge that exists around them. By delving into their history I became interested in the discovery, telling and retelling of the stories that surround them. I am not necessarily looking for answers or resolutions; the significance also lies within the process and perhaps there are no outcomes.
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