Please say a bit about yourself and your practice.
I graduated with a BA Honours in Fine Art from the University of Creative Arts, 2012 and am currently studying for a Masters in Fine Arts (Proposed Graduation 2018).
During this time my work has been exhibited broadly around the UK, most notably in May 2017 where my work was selected for the London International arts competition at the HLS Gallery in London. Most recently, I exhibited at an international arts festival in Venice, Italy, and an international contemporary art fair in London.
My practice explores a relationship between artist and surface which inherits themes such as converting, transforming and materializing. My obsession to capture and produce can be witnessed through these intensified forms, which include the subject matters of sculpture and painting.
The excitement for me is within the material, converting and transforming the original quality of a surface is what shapes my practice. This unravels a new beginning from what was seen previously and opens up many inquiries into new ways of thinking and recording data. I like to refigure the original identity and characteristics of already used surfaces and objects. How the unseen aspect and nature of a surface or object is commonly hidden and not thought of, I like to impose a new condition which uncovers new openings, taking away the concealed or non-exposed trait.
I like to install a gap into my working process, as I find the outcome becomes more interesting. This gap creates a constant break up between intention and process, which enables the overall form an essence of magic. I believe that functioning in this format creates moments of unpredictability, where one’s mind cannot comprehend what has occurred. This links to the viewer having an experience which only appears during duration of time. Where questioning can start to happen, how has this originated, and what procedures have gone into the creative and theoretical understandings of the artist?
An intense relationship with the particular surface I am working with becomes apparent, as an obsessive nature of mapping out starts to take shape. This form of mapping evolves from the original working process where shifts and changes are made to the surface leaving projected and textured marks. By highlighting this event it leads to new evolved avenues which constantly inspires me as the artist, and keeps me on this productive journey.
The story behind your materials is brilliant – can you tell me more about how you source them?
As well as a working an artist, I support my Dad in the building trade, so many of the materials I source come from building sites. I come across many fantastic materials, surfaces and elements that have the ability to perform through another action. This is achieved by activating these sourced building materials with traditional art supplies.
For example, I work with sheets of plastic / strong varnishes / glosses (Building Supplies) alongside different waxes, pastels or paints (Art Supplies). I like to term this process ‘A Working Unknown Process’ because I never truly know what is materializing before me, until I start documenting through the means of mapping out this reformed surface. I like to combine both modes of labour together, where nothing is separate and instead are contextualised together to form one method and process of working.
You really transform your materials into something entirely new – is there an environmental statement here as well?
Yes, transformation of product is a major theme that resonates in my practice. The environmental aspect attached comes through the materials taken from the building site. These sourced materials have had a life from the outside, and a history of this time is embedded into the surface.
This seems to be a very organic process, so do you know whether the end product will be sculptural or wall based before you begin?
In my practice the work/form evolves once it starts to go through this intense exercise of documentation. I never know what the work will be, never sure if it will be a painting, a sculpture or something in between. I only start to build a suggestion when this expressive account of mark making, through the mapping out of the reformed surface begins.
Given that you’re working with ready-made materials, how will you approach the commissions process with site-specific and client requirements?
When approaching commissions, I am keen to adapt and modify my working skills. As I work with themes of the unknown in my practice which include aspects of the unpredictable, chance and taking risks, I feel that taking on commissions is no different, as an element of surprise could be featured. This only heightens this method I already work with.
If you could place your work anywhere in the world, where would it be?
Placement of my work is something I am currently experimenting with. I have displayed my work in the confinements of white cube spaces and set designed artist spaces. But have most recently exhibited my work in a domestic hotel setting for an art fair and surroundings in the outdoors for a communal artistic project. I am always excited to see how my work might change and develop in new spaces, so I think at any new opportunity to show I would take with open arms, a huge enjoyment for me is to see how my work installs a placement in the world.