Page 2 of 2
think the childhood associations are sometimes an outcome of the work
but not necessarily a starting point for me. My starting point is much
more grounded in aspects such as construction and materials, site,
processes, collecting and old existing work or ideas from past work.
(My practice is very cyclic and often content and imagery and
techniques from old work will reappear. For example trees have appeared
in my work time and time again often in different forms, characters
such as the long legged zebras, clocks as mechanisms to make things
I have a varied approach to site; sometimes I will
make objects that can easily move from site to site. Other work I
partially construct in my studio then dismantle and take all the parts
into the designated area. I reconstruct the work in the gallery
intuitively taking into account aspects of the site. This kind of
construction allows the work to change and mutate to the particulars of
a site and allowing me to alter the work and control the scale, which
alters the way the viewer, will interact with the work. It is a type of
‘squatting’ the work takes up residency for an allocated time.
A twisting of scale that pull and pushes the
viewers encounter with the work. Creates tension between the real and
Biscuits and lollies and stuff:
Why do I use them?
me these are the most interesting and easy to find ‘ready mades’ they
have beautiful textures and colors and smells and their form evolves
I am not using them in the traditional way
but kind of subverting them .as Miranda commented I don’t use a
photograph of a bird as a bird instead I cut up a photo of a biscuit
and use this to construct a bird it’s a very kind of back to front way
of making things.
I think I use the photos as a material which I cut up and use in
much the same wayas I would use most materials however there is just
that extra layer of history its been recycled then recycled again a bit
like lots of the other aspects in my work reused, reinvented. I like
that about the photos that they can be reproduced and repeated over and
over to form a huge landscape essentially out of one repeated image.
Again it’s mostly the formal qualities of the images in the photos
that I'm interested in the way that the underside of the (photographed)
arrowroot biscuits looks like a strange sort of volcanic landscape.
The way it is constructed which is very real
and raw and everyday and exposed process and the surreal content is an
interesting conundrum. Like an animator will create another world a
surreal world but there is no connection between the real world through
the evidence of a process or the building of it. However my work does
have this, which is a thread that seems to pulls, and push the viewer
between the real and enchantment.The construction technique pushes the
work as much as the material. How materials react to each other where
the type of construction and the qualities of the material will go how
far they can be pushed.
Conceptual and the romantic
Contemporaneity and antiquity
Everyday and enchantment.
|1.2.3. The quietening 2007 p.o.a
a mixed media installation, dimensions variable
|4. The Quietening I 2007|
mixed media on board
|5. The Quietening VI 2007
mixed media on board