Theoretically rooted within simulation and the hyper real, my work explores the passing down of history, folklore & childhood recollections and analysis of to what extent history is actually fabricated to suit the political agenda of the day. Bordering on conspiracy theory I question the notion that not everything we are led to believe is strictly true.
My Practice oscillates between video and painting. One acting as a counterbalance to the other, whilst - simultaneously feeding off each other.
My video work incorporates both digital and celluloid found footage taken from personal collections, the internet and charity shops, with personal clips that are shot surreptitiously and then archived until a use for them is found, or where a particular idea either blossoms or persists.
My paintings relate to my video works - either directly or circuitously. Again from memories, personal narrative and storytelling. Painting for me, is a way to process all the stuff that's going on in my head, it's a way to get my own personal narrative. Those layers, thinking about things in different contexts and through different filters almost, is what's interesting to me.
It is this kind of slow thinking and remembering that is paintings most unique and special quality.
Influences and subject matter are quite specific, though taken from diverse sources, which may include postmodern philosophy, politics, current affairs, film, music and literature, as well as the mundane or everyday occurrences that make up daily life. All these things are committed to memory, where specific details fade with time. Artistic influences are numerous but include Stan Brakhage, Philip Guston, and Amanda Beech to name a few.
As these elements are not physical - only memories, their exact details may be forgotten and subsequently replaced by imagined approximations which are then re-visualised, becoming personal recollections where the lines between the imagined and the factual are blurred. These re-visualisations often accumulate into an overload of information that results in momentary glitches, leaving the viewer not quite sure as to what is taking place. Therefore what is real and what is imagined become indistinguishable.
CV & Education
Qualifications and training
- 2013 - MA Painting, Royal College of Art, London
- 2012 - BA First Class Honours Fine Art Practice, University of Worcester, Worcester
- 2014 - three, BPN Architects, 3 St Mary Street, Birmingham B3 1ND
- 2013 - You'll Never Work in this Town Again, Wolverhampton Art Gallery, Wolverhampton, West Midlands
Group exhibitions 2013 -
0p3NR3p0, online collection, http://0p3nr3p0.net/furtherfield.html 2013
Creating Curiosity, Ragley Hall Gallery, Studly, Warwickshire 2013
New Art West Midlands, Birmingham Museum & Art Gallery, Birmingham 2013 -
New Art West Midlands Bursary Winners, Grand Union, Fazeley Street, Birmingham
Artist in Residence, Pitt Studio Projects, Worcester, Jan - Feb 2013