about
In my work I want to emulate what you feel when you hear a theme song to an old tv show that you haven’t heard in years.
I incorporate my satirical sense of humour with quoting elements of mass culture as a trigger for collected memory. I like my work to have a sense of familiarity, to unlock a memory from your past but to also not know where that memory is from.
As well as memory, I like my work to have a sense of place. I use objects like bricks, images of regional natural landscapes and environmental soundscapes in regards to place, in order to further cement this feeling of familiarity within my pieces.
The mediums I use to explore these themes are sculpture, performance, sound and video. Both in performance and sculpture the interest is outside of what we consider to be the artwork, the importance being in the process and the off-stage events that surrounds the piece, highlighting what we don’t usually see. The environment and culture I am in, also heavily influence my work as I take inspiration from what is accessible to me at the time.
My ‘final piece’ is very rarely just a singular work, in fact it’s usually a large collection of written research accompanied by visual and sonic documentation, to pair with the final piece. I use a wide variety of mediums to help document and to further push this nostalgic feeling I want my work to emulate, and because I’m rather indecisive.
Other outside influences that effect my practise are my passion for jazz, as I’ve been a saxophonist for ten years and played jazz, it naturally filters into my work. It helps me think more fluid and outside the box and also helps me think from a sonic point of view.
I form unlikely connections between familiar snippets from popular culture such as cartoonish movements, with inanimate objects such as bricks or out of date potatoes (see seven deadly sins), to ask the question; what our relationship is with the art of process and these everyday objects in our lives?