My work explores the measurement of mark and object as traces in time, the observation and understanding of movement as a way of mapping on other levels.
Done by imagining the smallest possible trace left by a person the longest time ago.
Time becomes a series of small events or moments evidenced through the eventual dilapidation of what we see around us.
The decaying turns to dust, dust re-emerges as the new.
New and old spaces,
This cycle and circulation of energy becomes a materialization of time itself,
memory is turned into material,
as our understanding of time may be broken.
Presence is not part of our understanding of what we leave behind,
It is absence that is key.
This ever-changing urban landscape is riddled with moments of honesty,
a banana skin squeezed between bus windows,
a coffee cup hidden behind a platform pillar,
faded names on doors, postboxes and other places that we claim as our own,
yet in truth don’t belong to any one person.
The exception being our understanding of time and our connection to such objects in time.
So that the personal becomes impersonal.
Through found object paired with paper making, it is possible to explore how the ephemeral and the permanent inhabit the same spaces.
How these spaces are changed through everyday movements and decisions.
An existential discussion of where each of us is placed within fast paced, altered and changing states of the everyday.
The pieces suggest a nostalgic sentimentality,
a constant questioning of variations of the following questions:
How many people have sat/stood here, in my same seat/spot/place, today/this month/this year/since the beginning of time?
Is it possible to say that absence is in fact a form of presence?
Does this fascination with absence suggest a dissatisfaction or enthusiasm for the everyday?
The erasing of content,
become objects of memory.
Objects holding time,
In this way origin and destination merge into one.
Object and trace become much like a precious museum exhibit,
With hundreds of years of claimed ownership,
compressed into one object.
Compression is the effectiveness of modern day technology in taking and storing data.
Making paper is a return to a different kind of compression.
An inaccessible compression of sorts that relies on time, memory and materiality.
Newspapers and magazines,
Often found in the streets,
left on public transport
and turned to pulp.
Removed from any kind of function,
or given altered meaning through poetry and collage.
The melancholic nature and yearning to understand the theory of presence and absence comes from an insatiable curiosity for meaningless objects,
or perhaps not so meaningless objects that people throw away or forget about.
some rusty construction grids,
papers and magazines,
a painted wall that has been left to decay and peel.
all the objects we collect at the bottom of drawers yet do not throw away,
objects and collections left in charity shops,
or left outside homes.
Time, memory, trace, object and place all are vital in understanding our presence as absence where deconstruction and reconstruction within a site-specific space become a memory of lost traces.
A return from some kind of amnesia.
Undergraduate Summer Show, Camberwell College of Arts, London, June 2017
'The Art of Thinking', Conway Hall, London, May 2017
Mid Term Review, Copeland Gallery, London, January 2017
'Tape', Copeland Gallery, London, November 2016
'Space Beam', Buster Mantis, London, May 2016
'Les Salles des Pas Perdus' Collaborative Project, Academie Royale des Beaux Arts, Brussels, January 2016
End of Year Show, Camberwell College of Arts, London, May 2015
End of Year Show', Buckinghamshire New University, June 2014