I make a continuing body of visual elements - drawing, photocollage, paintings, photographs, collected images and hybrids. These 'works' are then used to make temporary and contingent installations; these articulations are the work proper. The location of the work is situated somewhere within the differences between images even though each picture remains discreet and separate. Thus rather than dealing with a substantial body of 'works' the practice handles ideas around inconsistency, variabilty, movement, fluidity and negation. These works form a body of water rather than an archive - nothing is dated or titled, there is no necessarily significant content or meaning within each picture. The location of the work proper could be said to exist outside the pictures, i.e. no individual picture can sum up the Studio practice, the work proper only comes into being when it is shown in the varying contexts of different installations. The important aspect is the relationship between items, which produces a space for reading. The images used to make the drawings, paintings etc. all come from existing references such as photographs of paintings, events, objet d'art and so on, articulated in varying styles of execution. Alongside these pictures are works of improvised abstraction derived from a modernist methodology. I think of these as pseudo-abstraction or abstract paintings of the idea of abstract painting.
A discourse of fragmentation.
Paintings of paintings, drawings of objects, landscapes, portraits, pictures of sculpture, ethnographic references, abstraction, paintings of architecture…spheres and cubes.... photo-collage, combinations and hybrids. In other words a cacophony of modernist tropes and painting conventions quoted ad infinitum.
After the fatigue come bodies of water, which posit differing presentations that in some way recommend a reading starting from the negation - the difference between works in a group of images, then exchanges within the discrepancies.
The work is the production of a Space.
Nothing is important - each thing is an intercepted letter - every picture is a photograph.
Since meaning does not reside in the individual art things, all works are untitled. All works are sized around A3 or less. All works are dated from the past 10 years to the present day. At the point of exhibition nothing is either old or new.
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