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My artistic practice extends a variety of media focusing on video-installation, drawing, embroidery and sculpture. My work addresses the nature of particular objects and interior spaces and how these have become embedded within our collective consciousness. The aura, fragility and physical detritus surrounding a rock/pop concert or a musical performance are a major source of inspiration.
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Untitled(100 drumkits) cardboard, tape, 2009
Similarly the repetition and rhythm evoked through the process of reconstructing 100 very particular guitars or drum kits in miniature become an integral part of the finished work. It takes endurance, concentration and patience for the rock musician to become good at playing his instrument; a particular riff or beat have to be rehearsed and re-rehearsed over and over again – this same persistence and reiteration I aim to echo in my work; ten barstools, one hundred guitars, ten thousand cross-stitches. The rhythm, scale and intricate fragility of my work deflates the aura of (macho) coolness endorsing the rock/pop star thus revealing the tenuous position of the performer and in turn exposing the very fine line between success and failure.
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My miniatures and video works point to the conventional dollhouse and our perpetual attraction to all things small while my embroideries and textile works make use of traditional quiltmaking and needlework techniques. With works such as ’Little Wing’ for example, where I have reworked Jimmy Hendrix’s psychedelically hand-painted Gibson Flying V guitar as a large cross-stitched paper doll cut-out sheet, I aim to combine the intense and meticulous process and skill that lies behind a piece of handicraft with the very male dominated world of Rock’n Roll music. Similarly the repetition and rhythm evoked through the process of reconstructing 100 very particular guitars or drum kits in miniature become an integral part of the finished work. It takes endurance, concentration and patience for the rock musician to become good at playing his instrument; a particular riff or beat have to be rehearsed and re-rehearsed over and over again – this same persistence and reiteration I aim to echo in my work; ten barstools, one hundred guitars, ten thousand cross-stitches. The rhythm, scale and intricate fragility of my work deflates the aura of (macho) coolness endorsing the rock/pop star thus revealing the tenuous position of the performer and in turn exposing the very fine line between success and failure.
Little Wing, Crossstitch embroidery, 2009
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