My work is a resolution of opposites. As a multi-disciplinary artist-designer interested in combining digital and analogue processes, I am both conspirator in technological change and resistor to it. I am fortunate to have a foot in both pre-digital and digital worlds. Enjoying the luxury of experiencing and learning from pre-digital culture, while having an intuitive relationship with digital technology that best enables me to make use of a large array of convenient and practical tools that are available. I believe the range of mediums, processes, content and avenues of research available to contemporary artists provides scope for endless possibilities.
Generating ideas on the computer comes naturally to me and this is where I start with regards to image-making. Once I have manipulated compositions and colours I will interpret the image through drawing, painting, print & most recently woven tapestries. This way of working fulfils my craving for tactility whilst also making use of the versatile and infinite nature of digital software.
The content of my personal work is more often than not connected to nature and landscape. This never felt like a deliberate choice, these themes are almost certainly a form of escapism from the realities of living in an increasingly digital metropolis such as London. Since March I have been volunteering as a gardener at Kew with the intention of adding more depth and understanding to the subjects I choose to use in my work, I’m also have an interest in working in landscape design in the future.
I graduated from Chelsea School of Art in 2015 and was very fortunate to spend 9 months at the Jan Van Eyck Academie in the Netherlands during 2016/2017. During this time I gained invaluable insight into the practises of a range of international artists/designers/architects/performers/researchers at an advanced stage of their careers. Initially this was overwhelming, my production of work stagnated and I became frustrated with the structure of such an academic institute. That frustration lead to reflection and ultimately clarity. I am much more sure of the work I’d like to produce and how/why I am doing it.
I am on the cusp of a period of production, which is the primary reason I am looking for a space to make work. After dabbling in various art and design endeavours I am keen to develop work towards a first exhibition of my own work. The shared studio environment and the personal relationships I formed were the highlight of my time at the Jan Van Eyck and I am keen to emulate those conditions in London. The Rum Factory appears to be a perfect blend of public and private, allowing interactions between it’s occupants. This is particularly important to me as the times I have worked from home over the past 2 years have often left me feeling isolated. I’ve always been thrived off working with and learning from others.
As you will also see from website, I have a keen interest in music. Which is represented through a new project Fertile Ground (www.fertileground.xyz) where I curate a series of mixes from established and emerging record collectors and djs from around the world.
Jan Van Eyck Academie 2016-17 Open Studios