Kit Abramson

When people see my work, they worry. They tell me I have obsessive-compulsive tendencies. I prefer to describe myself as a bit of a nerd and my work as reductive, repetitive, economic, considered, measured, exact, reflexive, cyclic, subversive and perverse. I tell them I'm interested in failed idealism, aspirations, the impossible and equivalence. I try to get a grip on how we construct knowledge about the world and have a stubborn thirst to find out what makes it tick. Scientists observe and measure, and prove and disprove theories. In an inconsequential, rebellious alter-science, my work is a series of attempts to pin down reality, to anchor and elucidate it somehow. I am known to have a meticulous attention to detail, often focusing on minute events such as the meniscus of water, the fluff on tennis balls, the straightness of a freehand line. I enjoy handling objects such as sugar cubes, ladders, needles or rulers whose aesthetic values are routinely overlooked. I have an intuitive need to dissect, construct and manipulate the stuff that surrounds us in our day-to-day lives to create a new language of things. Negotiating a practice whilst raising a young child has forced me to consider the parallels between these two weighty responsibilities. The work I make involves ridiculous and arduous processes resulting in films, objects, performance, paintings and installations. Pieces are often slight, fragile and absurd and their subtext often channels the experience of my child's development. For example, The little sculpture that could, is a supported and precarious column aiming to stand tall and straight which was built whilst encouraging a nine month year old to stand unaided. read full statement

Location Lancaster, North West