There are two elements to my practice. The things that I find interesting and the ways in which I like to make these interests manifest and available to others. A changing, somewhat nebulous relationship exists between the two. From this relationship, my work emerges. The things that I find interesting are the systems (be they natural, psychological or social) by which we create an internal understanding of the three dimensional world in which we live. Perspective, religion, geometry and perception, for me, fall among others into this category. I enjoy using the processes of sculpture, collage and installation, as well as other socially engaged processes such as museum and gallery education to make these interests, ideas and thoughts manifest.
As we enter the robotics age the fusion of 3D spaces and organic materials will create the future history of perception.
My work is an investigation into how we perceive the world around us and how we engage with this space. By breaking down still and moving image and analysing patterns within this collected information I am re-mapping real space into a virtual interactive one.
As an artist, I produce works that seek to draw attention to space and time and that invite the viewer to question the changes that happen all around them in their everyday lives. As a film maker, I enjoy submerging the viewer in a liminal environment, caught in a meditative transition. My methods reconstruct a narrative from found photographs which bring with them their own interpretation of what has come before.I hope to provide a literal window through which to disperse my work and make transparent the subtle changes which often go unnoticed. As a technologist, I use new and traditional media as a means to create dialogue between the present and the past. My aim is to explore the future of art history and digital media and their contribution in the public realm. Methods of documenting, categorising and digitising the analogue experience of the visual world are key influences in my work.
houses huddle as water rises triumphant fish whiff of sewage
falsely documenting the world using animation, sound and sculpture
My artistic research is always in evolution. The theme of perception and reality, consciousness and awareness persists. While developing skills and networks, I am reflecting upon my time at Leeds Metropolitan University, with the benefit of distance. This reflection nears completion and will evidence itself in my future artistic research. Current research. Updated: November 2008
I was born with given parameters, inherited codes, ready for everything and nothing, managing my mind and disposition, foolishly, letting the minutes and years go to waste. I give the impossible a possibility on the secret paths, the compassless yourney.Watching myself and others, I become aware how amidst our desperate struggles we tend to forget the very purpose of those struggles. Stumbling along in obscure crowds, carrying undeterminable burdens, we fanatically dig deeper and deeper, creating weird memory–creations of persons, situations, places, events, great expectations, illusory window displays, defeats, disappointments, minor victories. It is such recollections that constitute the backbone of my painting. I oddly wobble along amidst hazy memories and images with the compass clutched in my hand, without poles, on the path that leads to the unknown and the impossible. I unsentimentally familiarise myself with the truth that might help me find my bearings. The places I work in are simple and derelic, illusory and poetic: hangars, cellars, empty cinemas, underground stations, ransacked flats. All full of vibrating statement–gasps. The most real locations possible for painting–a naked, undisguised, low–life reality. Clever as it may sound, it is true that all that exists reveals it's essence when ts perishes. Assessing whether the secret confided to each other can withstand the cruel selection of remembrance is left to the future.