Lockdown Rhetoric

Coexistence

Liminal Zones

Paper Den Membrane
2018

 

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.

Shipwreck
2017

Mixed media installation
Variable size

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.

Redacted Woodland
(Spontaneous Manifestations)
2016

Site-specific intervention
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 interventions are acts of natural graffiti that evoke a passage through a place and the change occurring within it. Black holes within an environment. 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 is Russian sci-fi film Stalker by Andreir Tarkovsky, and work by John Divola and John Baldessari.

Some additional work / collaboration can be seen here

Paintings  ->

Digital

Short Strange Things…

The Great One
Smoker
Ghastly Delivery
Knocknock
Knocknock 2
Prelude
Slurry

Woodland

Obscurance

Above – Orange Fungus
Acrylic paint, oil paint, acrylic paint, water colour, inkjet prints

Scan_20161129 (11)
further
Scan_20161129 (5)
Scan_20161129 (6)
Scan_20161129 (8)
Scan_20161129 (9)
Scan_20161129 (10)
Scan_20161129 (12)
Scan_20161129 (13)
Scan_20161129 (14)
Scan_20161129 (15)
Scan_20161129 (16)
Scan_20161129 (17)
Scan_20161129 (19)
Scan_20161129 (20)
stat
previous arrowprevious arrow
next arrownext arrow
Scan_20161129 (11)
further
Scan_20161129 (5)
Scan_20161129 (6)
Scan_20161129 (8)
Scan_20161129 (9)
Scan_20161129 (10)
Scan_20161129 (12)
Scan_20161129 (13)
Scan_20161129 (14)
Scan_20161129 (15)
Scan_20161129 (16)
Scan_20161129 (17)
Scan_20161129 (19)
Scan_20161129 (20)
stat
previous arrow
next arrow

Collaborations

Above – two collaborations with Konstantinos Leloudas

Portfolio

Abstract Paintings

Elvis
2020, oil on cartridge paper, 30 x 20 cm

Another Place
2021, oil on canvas 135 x 80 cm

Sentry
2021, oil on canvas 115 x 60 cm

Danish Blue
2020, oil on canvas 170 x 145 cm

With the above painting I was thinking about how we exist (with)in a landscape, how we experience it as a kind of symbiosis. To approach it as something that has equal intervention and accident. I stained and painted the canvas, dripped, poured and splattered paint. It was folded to create reflected Rorschach-like swells on top of areas of flowing colour and gestural brush marks to create a surface that sits somewhere between a cave wall and an exterior space.

Other Selected Paintings

Installations

Paper Den Membrane
2018

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.

Shipwreck
2017

Mixed media installation
Variable size

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.

Redacted Woodland,
Spontaneous Manifestations
2016

Site-specific intervention
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

Paintings >>

Collaboration

In-situ intervention in Wimbledon Common, southwest London. Made in collaboration with Konstantinos Leloudas

Scrapyard Installation

2018
Mixed media installation

Installation photos of combinations of objects salvaged from a local scrapyard in Castellón, Spain. Created in collaboration with Carlos Sebastia