Graduate from norwich university of the arts, with BA honours 2.1 in fine art 2014
Much of my work has been centered around an ongoing interest in both space and place, particularly in relation to the concept of ‘dwelling’ as proposed by Gaston Bachelard, where he considers the potency of deep reverie as a vital part of the poetic imagination that allows art to come into being. It was something of a revelation to come across the ‘Poetics Of Space’, the seminal Bachelard text, as it mirrored my own ideas and gave critical substance to issues that feel important. In this respect, the ‘place’ and ‘space’ of architecture as an image of both loss and memory is key in terms of developing imagery. Inherent in this is a understanding of fear, and how subtle shifts can alter perception, so that the familiar becomes the unfamiliar, the certain becomes uncertain. By alluding to domestic references; the stair, the attic, the corridor, much of the sculpture has attempted to become a kind of physical map of a state of mind, which might echo in the mind of the viewer as either déjà vu, or something that might trigger an unfolding of personal memory. Bachelard describes this as topoanalysis, a precursor to psychogeography, which has had considerable influence on the critical context of my research. The writings of Marc Auge and Micheal De Certeau are particularly relevant in this respect, in their analysis of space and non-space in an urban context. Interestingly Auge argues that the notions of ‘place’ as opposed to space are almost a reassertion of identity, which for me is valuable. Image, in my understanding is an idea of place, of orientation. I try to compress an expanded understanding of the places of architecture into a contracted structure that evokes the homely, the forbidden, the secretive and the uncanny. Crevices and corners become the secret place of dreaming. Hopefully this creates a tension, where the viewer is both invited in and locked out, becoming the voyeur.
My work is never made with the idea of the midday sun. It inhabits a more shadowy time, ‘after hours', ‘the wolf hours’, where imagination plays host to the vulnerable within us all. Light sources are often used within the work, to try and evoke a sense of the campfire, the dying embers, that moment of mortality, when faced with a low hung light bulb, or an uncertain glow emitting from a closed of space.
The work is an escape from the mundane, a search for otherness that draws upon location and dislocation. Dualities create uncertainties, and it is this sense
of ‘not knowing’ that colors the work. Details gleaned from architecture: corners, roof spaces, windows, the crevices between walls, accumulate and compress in order to create sculptures that allude to the hut, the head and thehome. But what is ‘home’? In a world that is increasingly ‘placeless’, it becomes something of a paradox. ‘Home’ is a multiplicity of experiences that rupture notions of tranquility and safety. In essence, the work centers on becoming ‘lost’ in our sense of home. It is displaced and elsewhere. It is the site formining our memories and performing our imaginative autopsies. "Home" haunts, it is the place of dreams and shadows.
In loving memory, norwich, stew gallery 2014
Shades of yellow, London, the embassy tea gallery 2015
Last resort, norwich, freight gallery 2015
Leg Room, Stew Gallery, Norwich, 2014
My Fears Are Not Yours, Yallop’s, Norwich, 2014
Songs of Ohio, 7 Clapton Square, London 2012
The norwich 20, undercroft, London 2015
Degree Shows 2014, Norwich University of the Arts, 2014