Through printmaking and durational media I compile a reservoir of images as a basis to my practice. From this I select groupings of digital and analogue material and bring them together to settle into fragmentary or formal relation to one another - a thought process that sways between intuition and analysis. Singularly, a work internally follows a logic of echo and material simile that extends to presenting an awareness of its own edges and composition. Collectively, the work is defined by its differences, inviting a comparative mode of looking from the viewer. Reading across in this way, the layered nature of printmaking is deployed to lend, borrow, re-order, or re-phrase across a family of processes. Choosing languages that function laterally, I seek transposable relationships between physical surface and time: they are activated by one another's company: gaze or gesture, material surface or framing.
My films function similarly: layers are distinguished as the separation of sound and image; exploring the voice as a surface, using language barriers and recitation to aid distance of conveyed meaning and foreground rhythm, in dialogue with the camera and the edit, to image surface, space, proximity and presence feeding into a sense of portraiture.
I am interested in the relationship between the functions of analogue and analogy: whilst archives and film become digitized, I am furthermore interested in transferred material entering a space in which we can expand the texture of what we see, remaining unfixed and extractable. Conversely the solid example for an analogy cannot be found and the imagery communicates a hovering fascination for passing through, focal space and centre points, profiles and female faces, the sun's path and possible apparitions.
CV & Education
Qualifications and training
2011 - MA Printmaking, Royal College of Art, London
2005 - BA (Hons) Fine Art Painting, Wimbledon College of Art, London