The Whys and Wherefores
Producing work is a part of who I am, rather than what I do.
Early work held a fascination with muscle structures, movement and how bodies affect the space around them: the interaction of pull and push, contraction and extension, carving flowing shapes onto and into the space, defining edges. I depicted human movement as the essence of humanness and what we are. Inanimate objects at this time held no interest, believing the things we surround and judge ourselves with, lesson our basic humanness. I questioned my unwillingness to include these defining objects and the role I believed they played. Exploring Archaeology realigned my thinking, with it’s emphasis on using remnants of objects and signs to connect with peoples long gone.
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Archaeology and Objects containing stories continue to be my overriding influence and source of ideas.
My work still strives to represent the essence of being human, I use objects and signs unearthed from our ancient landscape to recognise and explore humanness and connectivity weaving through time.
Studio work explores the tension existing in the human experience and Archaeological theory: the pull between the certainty of our inherited social beliefs and the ever present possibility of change and re interpretation.
Materials and aesthetics form a core function in this conceptual dialogue. I use the tactile nature of the materials to illicit an emotional response that is a part of our own humanness.
Materials are chosen for their inherent qualities, having for me, their own conceptual meaning and aesthetic properties:
Wax retains the constant potential for fluidity and change, it has an inherent warmth and translucency that can look and feel much like human skin. Add pigments to the wax and it can mimic many other materials and forms. Layering pigmented waxes creates swirls of colour that hint at an indistinct, veiled past.
Plaster forms an opposition to the wax. Once set and cured it is cool and dry to the touch. It can be carved and polished to a smooth pure opaque whiteness, seeing only the forms surface. It gives of a sense of permanence, solidity and immovability.
Grids and frames are an important measuring and recording device in Archaeology and form the backbone of artifacts being entered into the historical record. Seemingly they introduce a legitimacy and indisputable record of data. I use grids and frames to anchor my imagery, re asses their legitimacy and present imagery for scrutiny.
For Public Commissions I often use and define spaces using structured frames or containers that present and question locally relevant historical objects.
My more recent temporary installations inherently portray the idea of impermanence and the possibility of change whilst allowing the pieces to meld with the given spaces.