Refractions distort the light-image; around the peripheries of shapes sparks of indigo, white and red flicker, breaking the uncertain projected image. A photograph is printed, then printed again, emphasising the texture of photogravure, then installed behind tinted or patterned glass, which moves the image once more from its original source. The various methods of projection fracture the image, while each technology imparts a particular aura, producing diverse narratives. Images and means of projection sometimes combine drips and marks of household paint, the surface of wallpaper, household mirrors or panels of wood leant against a wall. Technology, trace, and error produce estrangements, while capturing layers of identities and rhythms of the past.
Memory and time are recurrent themes, for, as Steinbeck writes in The Grapes of Wrath ‘how will we know it’s us without our past?’
Yet memory is constructed, and escapes account relentlessly. The use of ephemeral materials and unfixed temporal arrangements articulates this in non-hierarchical constellations, combining with the architecture of the place of exhibition. An element of installation or arrangement is introduced into the existing space, embedding the image therein and anchoring an otherwise ephemeral work. The recesses of concrete, the rise and fall of architrave or skirting board, the indentations in the floor inflect the work. The adjustments to the common features of place induce a reflection of a place or a memory, as something that is incorporated but resists recall.
I use print, household paint, dust, found or reclaimed materials such as light fittings, stud walling or vent covers, woods, slides and slide projectors, & photographic images to communicate the experience and concerns of the work. But more and more this is stripped back to light projection and the lens.
The blurring or washed over effect contained in the effect of passing through different layers of imperfect glass, plastic or water lenses are imposed upon imagery. Light through water, and the effects of the disembodied image, always one step removed from our reach.
CV & Education
Arts and Humanities Research Council 2013-14
2011-13 Engaged Practice Program at Yorkshire Art Space
April- May 2012 Residency at The Learning Zone, Parson Cross Library
February 2012 Factory Nights, Crab Tree Society event
2010-2011 Derbyshire District Council Rural Housing in association with Derwent Living.
Selected Group Exhibitions:
Harrington Mill Studios, Mote, 09/2013
Salon 3, The Old Lock up Studio 2/2013
Salon 2, The Old Lock Up Studio 12/2012
Neo Print Prize Bolton 13/09 – 28/10 2012 http://www.neoartists.co.uk/printprize.asp
Cromford Mill Installation 2011
Wirksworth Festival Curated Program 2011
Synthesis- Derby Degree Show 2011
Post Card Exhibition, Deda, Derby 2011
Wirksworth Festival 2009
Falmouth Arts Centre, Cornwall 2004
University College Northampton 2002
2011 George, 41 Greenhill, Wirksworth
Wirksworth Festival 09/13
Roundabout Plate commissioned by the Ruskin Archive in Sheffield 2012
- 2013 Wirksworth Festival : Light Lapse
- 2011 Cromford Mill Installation, Cromford Mill, Derbyshire
- 2012 Sugar Shadow, St George Barbados
- Greenhill Intervention for Wirksworth Festival 09/2013
Wirksworth Festival Graduate selection and Window Curation 2013
March 2012 Barbados Community College, Barbados.
Peripheral ARTeries 2013 http://issuu.com/artpress/docs/peripheral_arteries_art_review_-_ju/28
Arts Beat 2013
Member of :
The Association for Heritage Interpretation
Leicester Print Studio
Full Public Liability Insurance and Current CRB certificate