The work is ultimately an investigation into the vulnerability of the human condition, exploring the fragility of the body and psyche. I am interested in the notion of stability and instability, drawing on personal experiences of my own hospitalisation, bodily and mental malfunctions. The idea of something gone wrong and the core of something being disrupted is always key.
The canvas's themselves are treated as bodies, bodies that I can affect or make impact on. Touch and reaction are crucial elements, the paint perhaps being flesh or skin. I think of it as something that can be warped and moved around, pushed, teased, squeezed, pinched, damaged and disrupted.
The works aesthetically record evidence of their own making presenting unclean painterly edges that burst beyond the confinement of the canvas. I am interested in revealing the materials of paint and canvas, the lack of colour is intentional so as not to provide a distraction. The pieces themselves have become objects, yet the exposure of the bare linen serves as a reminder that what is being seen here is painting drawing attention to the frames as productive forces.
Each work contains associations of visual fragments that might be images, layering on our relations towards objects. There is a dichotomy in the works between an invitation to touch and a bodily repulsion.
In terms of the archaeology of self in the work I took much influence from the works and writings of Louise Bourgeouis. Practically and materially there lies relation to artists such as Alexis Harding, Zebedee Jones and Jason Martin. Other artists that featured heavily in the research of this body of work include De La Cruz, Emin, Fontana, Kusama, Grayson Perry, Neal Rock, Robert Rymans and Rebecca Warren.
Chance is key to the works; the unpredictability of the paint's response to my interaction or irritation of it. The outcome heavily depends upon the two elements of intention versus happenstance. I am interested in Rosenberg's ideas on 'Action Painting' and linking them to Deleuze's writings on 'sensation' and Barthes's' 'The Death of the Author'.
The paint itself holds much of the authority of these works, it's behaviour in each piece informing the work with meaning whilst drawing on the traces of the situations where they came from. The outcomes explore, also, the question of what counts as an object. There is a certain 'thingness' quality to the work; the line between what is painting and what is sculpture is blurred.
The making of the paintings is almost a process of elimination as much as presentation. I aim to push past abstraction to create a literal presence, one that is suggestive of the body; its perishability and sensory experiences and one that manifests instability.
CV & Education
2012 - Group Show, Gallery Opening, The Chance Gallery, 123 Sydney Street, Kings Road, SW3 6NR
2012 - WW SOLO AWARD - shorlisted artists, WW Gallery, Hatton Garden London, EC1N 8DX
2011 - Art Lynx Group Show, Skinners Hall London, Skinners Hall, 8 Dowgate Hill The City, London EC4R 2SU
2010 - Vault, City and Guilds Interim group show, Lambeth Accord, Brixton, Lambeth Accord, 336 Brixton Road SW9 7AA
2012 - BA Degree Show, City and Guilds of London art School, 124 Kennington park Road SE11 4DJ
2008 - City and Guilds of London Art School, Foundation Degree show, City and Guilds of London Art School, London
Competitions, prizes and awards
2011 - Philip Connard Travel Award (The Worshipful Company of Skinners), 2011, The Worshipful Company of Skinners, Skinners Hall, 8 Dowgate Hill The City, London EC4R 2SU