Untitled (Landscape Painting series) 2015
Household paint, wooden block 12 x 12 x 4 cms.
Part of a 18 month long investigation into paint as a sculptural medium, this work pertains to the historical tradition of landscape painting. It explores paint as craft and aims to belie any sense of skill and technique. However, ait also looks at contemporary issues of the environmental and sustainability with its use of recycled materials. Crossing the boiundaries of paint and sculpture, it neither lies flat on the wall or provides a sculptural 3D view.
The Pier, 2013
Wood, rope, paint. 4m long x 1m wide x 0.4m high.
The Pier lies at the intersection of gallery and studio. It functions as a viewing platform for the studio where the studio becomes exhibit thus making the studio the gallery. It alters the perception of the studio as a place of creation although creation is what is exhibited. The Pier highlights the floor of the studio showing the palimpsest of artistic creation, the drips on the floor from previous artists as well as this current installation. It reveals the process of making, the research and development of this work as well as showing previous work which contributed. However, The Pier also acts as a look out place, physically and mentally reaching to the space beyond. It aligns itself to notions of the horizon which I see as a meeting place not as the furthest point visible.
You are here, 2013
Installation, Stoke-on-Trent
Four identical signs announce You are here and are positioned opposite each approach road on a roundabout in Stoke-on-Trent where an estimated 20,000 vehicles a day pass by. They are placed using the process of roundabout sponsorship that has a recognised procedure and in this location, is the responsibility of Stoke-on-Trent council. The intention has been to create placial identity, a somewhere from anywhere. Every process within the work has a relevance from the sponsorship that takes in creating the signs and the exchange of money, to the viewing process that includes happenstance, deliberate art viewing from receipt of postcard and which may include satellite navigation and/or access via its dedicated website which includes Google mapping.
One Way or another, 2013
Leeds
The fan is located in what should be prime office space in one of three floors on one of three nearly identical buildings on the outskirts of Leeds. This work relates to previous work in other office space where space is defined but exists both within and without those boundaries at the same time. The fan is the mechanics of the work; the art exists in the blurring of boundaries. The fan creates a disturbance of the particles but also adds to them by the presence of the viewer. The traces of the presence of the viewer such as dust, hair, the exhalation of breath, remain in the space after the viewer has left and become mixed with the traces of other viewers as well as those created by the fabric of the building itself. The fan creates a disturbance of all these particles and minute traces thus altering the space. The concept of particles existing here and there at the same time is used to explore how place is conceived and boundaries created, not knowing where one thing ends and another begins. If the particles are in two places at once does that mean that it is the same place or two different places? This work has a particular relevance to the viewing process. It is, to all extents and purposes, absent except for its mechanics. The viewer is expected to approach the fan and thus unknowingly contribute to its function but use it as a counterpoint to other works in the exhibition that deal with material accumulations.
E ruv 2012.
Exploring inclusion and exclusion zones in institutionalized space, this hand spun wool thread creates a minimalist intervention similar to the Jewish concept of the eruv.
Shipping Lanes 2010.
Paper.
Paper boats made from used guidebook pages were launched at the centre of the Mekong River, the official borderline between Laos and Cambodia. This was to look at the ambiguity of the border and the fluxes that take place as well as the temporary nature of the object and its relationship to the medium of the river.
Artist Statement
The concepts behind my work concern borders and their transitory nature, marginal areas, interfaces between here and there and where one thing becomes another which gives rise to change and ambiguity. It is here that work becomes exciting, challenging, ambitious and the place where disturbances occur whether physical, mental, geographical, political or cultural. Primarily using installation, expanded sculpture and photography, I try to create a dialogue between space and place using temporary, ephemeral and provisional interruptions. These explore in-between spaces, inside and outside, nowhere and somewhere to locate, re-locate and re-contextualise territory referencing what has been, what is or what could be.
What is important is that it is experimental and that it proposes an exploratory way of looking and thinking that could be seen as presenting a set of proposals that thus develops a critical engagement. The role of the viewer is significant and I often feel that the work is not complete without the viewer. This, together with the cultures of display and how the work locates itself within a space, either conventional or unconventional, is seen as part of the work itself, not as a separate entity. The methodology is reflective with a circularity of practice and theory, each informing and being informed by the other.
Influences include artists such as Ronan Ondák, Rirkrit Tiravanija, Gabriel Orozco, Elmgreen and Dragset and philosophers such as Heidegger, Foucault and Sartre. I feel an affinity with Bourriard’s description of the Altermodern; ‘read as a hypertext; artists translate and transcode information from one format to another, and wander in geography as well as in history’ (Tate Triennial Exhibition, 2008).
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Wood, rope, paint. 4m long x 1m wide x 0.4m high
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