Statement

‘Art is made to disturb. Science reassures. There is only one valuable thing in art: the thing you cannot explain’

My work is born of numerous contradictions; pixelated memories and distorted dreams are synchronous in the physical reality of the present. New autonomous entities  evolve from these dissonant sources of inspiration. Multiples become important to both the fluid creative processes involved in the creation of these objects and to the stimulation of the spectator. Objects are physical, theoretical, moving towards a non-identity and freedom from a fixed definition. They are instilled with a life of their own at once bearing reference to their source whilst also firing the spectator’s imagination and creating new meanings; new beginnings, as a result of their inimitable physical presence.

I constantly explore new ways in which to manipulate the materials at my disposal in order to realise my visions, and observations of the world around us. Traditional art materials are combined with industrial materials to create new forms. My own ability to engage with these materials is of utmost importance, as are their physical qualities. Materials are selected as a result of their texture, viscosity, colour, form and malleability. A physical relationship to the work is important. This is manifested through experimental, laborious and repetitive creative processes. These processes become meditative as the contradictory elements that provide the catalyst for my practice are assimilated

My work is primitive.  It is turbulence, chaos, conflict and violent elegance whilst at once it is peace and oneness.  It is the strange, the cruel and unusual, the grotesque, the mysterious, the supernatural, moonlight, falling water, mountains and the darkness.  It is the land beyond the wall, the Theatre of Dreams, Neverland, Scarlett Thomas’ Mindspace and the space between us.  It is also the pursuit of originality, concern with the fleeting present, desire to live in the moment, the past and the future, a sense of timelessness, the thoughtful contemplation of the unknown.  It is nostalgia, it is reverie, it is intoxicating dreams, it is sweet melancholy, solitude, the sufferings of exile, the sense of alienation and normlessness, roaming in remote places, especially in the North.  It is also self torture, self annihilation and suicide.  It is the sadness of unfulfilled expectations.  It is the primeval, the unsophisticated, the bosom of nature, green fields, wind chimes, bubbling brooks, the infinite midnight blue sky.  No less, however, is it the desire to dress up, blue hair, urban outfits, throbbing sub bass, neon plastic, faery lights, a dedication to the following of fashion.   It is wild exhibitionism, eccentricity and the hedonistic pursuit of life.  It is both in the world and of the world.

March 2010