Leaving to Join the Wounded (Installation view)
Acrylic, glitter, inks, interference medium on canvas
My art practice considers what it is to perceive the present moment, while knowing it to be a paradoxical concept. At best, it is constantly in flux and, at worst, impossible. Even considering presence implies both a state of fact (I am present) and an illusion (I sense a presence in the room); an enclosure of beginning, middle and end, in a specific location. The work then becomes a balance of rationality, memory, body, context and experimentation, as if to figure out something that cannot be resolved.
I use a formal approach to my work, aware of its making layer by layer, as if it might be a demonstration of image software that is able to be separated and reconfigured. The intention is to approach image making as a practical problem. The result acknowledges the impossibility of objective rationality, both asserting and undermining the painting’s otherwise idealistic, singular simplicity.
These artistic enquiries extend to art writing and podcast discussions as a way of exploring the complex fluidity of imagery.
Canopius, Bishopsgate corporate headquarters, London, Aug 2022-Aug 2023 curated by Zelda Arts Advisory.
Twenty20, M Galleries New Jersey, ASC Gallery Courthouse, Apr-Oct 2022 curated by Marq Kearey, Darren O’Brien, Pete Mountford, Frank May and featuring work by 10 US and 10 UK artists across three venues in the US and UK.
The Comrades they were Brave (We Salute You!), GRS44, Mar-Apr 2022 curated by Cecilia Sjoholm and featuring work by Cecilia Sjoholm, Deborah Tchoudjinoff, Garth Gatrix, Hatty Buchanan, Iain Hales, Laura Moreton-Griffiths. Text by Chris Fite-Wassilak.
Here We Go!, Meakin + Parsons, Oxford Feb-Mar 2022 curated in collaboration with Hannah Payne and featuring work by Carl Anderson, Dominic Beattie, Christopher Brooks, Ham Darroch, Ann-Marie James, Anna Liber Lewis, Zanny Mellor, Barbara Nicholls, Charley Peters, Bridget Riley, Toby Twiss, Robin Walden, Eleanor May Watson, Emily Wolfe.