My current practice is a consideration of the arrangements of abstract shapes, observed from the reflection and refraction of light against every day, architectural, material surfaces; a study which pinpoints the intense meeting of these two elements as they form a unique dialogue in space. As usual, my attention is arrested when an event such as this takes place within my own immediate environment, but it is something that is often overlooked by everyone else. Thus, my artwork attempts to map the situations of light as it meets with the architectural surfaces which I inhabit and come into contact with every day, such as the fridge door, the kitchen counter, and the window pane etc, a relatable moment in time the viewer can access through engagement with my work.
Since these situations are particularly ‘physical’ happenings, material thinking grounds my work more-so than conceptual thought. This especially became apparent after a radical shift in artistic direction towards the middle of the year, which witnessed the abandoning of conceptual thought with the aim to focus more directly on material thinking as a means to a better standard of personal and professional artistic production. Since that point, I have discovered a keen interest in exploring the language and properties of materials and now work directly with them in order to gain greater understanding of their potential and language.
The processes I have utilised throughout the year and picked up along the way have derived from varying directions of where my study was taking me. Initially, I began the year studying glitches and digital malfunctions, which, for example, led to a developing engagement and eye for colour and material aesthetics. A great deal of drawing through observation and digital collage through photoshop allowed me to map situations between materials and forms, creating forced meetings and formed dialogues. It was at this point I began to recognise my focus and so tailored research into artists who identified with my processes of bringing materials together. These include Stockholder, Kuri, Pederson and Bogush who each have in their own practice studied the potential for creating or reinventing a physical moment or event through material composition, witnessed similarly in my own work.
Third year, BA (Hons) Contemporary Arts at the University of Huddersfield.