Wood, oil paint, dyed archive fabric, dyed khadi rag paper, gummed tape, spot lights. Variable size
Throughout various zones in the countryside there are usually dens, sometimes made by inhabitants of that space, or unknown visitors, strange interventions sitting somewhere between the personal and the eerie.
In this work I’m exploring the relationship between the edges of my environment, the liminal space between the external and internal, and the making process to create a space within a space.
Much like a studio space a den in the woods might function as a hideaway but it could also signify a meeting point between the interior and exterior, a shroud over a world that has within it the contradiction of being, but not being seen, a membrane where different spaces collide. The den of a castaway; an abandonment, and a passage. The viewer becomes the performative human element, free to pass behind it and through as part of the work in place of the eerie absence of the maker.
The main section of this piece was made entirely of brown gummed tape, sustainable and eco friendly hardcore packing tape that works as a sculpting medium. This is a very similar type of tape used for sealing delivery boxes, lining picture frames, and supporting shop windows to protect from flying glass due to blasts during WW2.
This ‘membrane’ is flanked by deconstructed painting that metamorphosises through the space. It becomes a type of studio den that both separates a person from their environment and is symbolic of them dwelling within it.
Mixed media installation
Shipwreck is a personal connection to global warming. It is an amalgamation of different materials: found objects and hand made sculptures, parts of paintings, wood and recycled objects with some of my own possessions. The remnants were arranged as parts of a broken ship, the flotsam and jetsam of things left over. It was partly informed by the novel and film The Mosquito Coast.
Painted wood, borders of privately owned woodland
The space for this site specific intervention is a woodland in north west Norfolk, nestled behind two villages and strafed by main roads, and containing creeping manifestations of change within slowly expanding private boundaries.
These intervnetions are acts of natural graffiti that evoke a passage through a place and the change occurring within it. Returning the wood to the woodland in this way, blocking out the background, becomes a way of erasing what is still there, a way of redacting information using materials from the woodland itself to evoke the transformations that happen on the periphery of awareness.
Informing this work was Russian sci-fi film Stalker by Andrei Tarkovsky, work by John Divola and John Baldessari.
Some additional work plus collaboration can be found here