Bio > I am interested in the elusive but enduring status of objects and thingness, through an indexical link to the dual conditioning agents of making and materiality. Since gaining a Sculpture Degree from the Wimbledon School of Art in 1993, followed by an MA in Graphic Media [UAL] in 2007 my work has slipped between video, photography and sculpture – and originates from a restlessness with the world. As an artist my modus operandi has always been making is thinking (visual art as a first order practice) which recognises the experiential creative process in which materials and making mediate between thoughts, ideas and possibilities.
About > My current practice involves pattern making, sand casting and the appropriation of the status of lead with its alchemical & arcane associations. The frustrations of using an iterative process that fails more often than it succeeds further draws down on this alchemical association. The speed at which new lead tarnishes to a dull, ubiquitous and light-consuming grey is perhaps a suitable metaphor for the [ultimate] fallacy of our endeavours. Leads weight and neurological toxicity conflicts with its supreme malleability and stoic resistance to environmental decay – beautifully antithetical conditions.
Origination > The work originates from an interest in repetition, the reiteration of the same and its relationship to our temporality. We habitually repeat, and are involved in many forms of ritual that suggest a motivation intrinsically bound to repetition, and yet “there is something about the nature of repetition to unmake the very identity it seeks to confirm.” If repetition is played out too long it becomes a narrative within itself, operating somewhere between boredom and engagement. William Gibson states in the novel Pattern Recognition that “Homo sapiens are mostly about pattern recognition, both a gift and a trap”, a duality that continues to drive his practice concerns.
Text > The grey-everyday seduces through conformity and standardisation. Our malleability through habit, ritual and tradition confirms that we are simply pattern processing machines, born out of pattern and destined to live out our lives as pattern. Familiarity and pattern give meaning to life, cushioning our inherent time-dependency and allowing us to deal with the urgency of life. We expect repeatability and consume consistency. Confirmation through repeatability qualifies our endeavours – pattern is control and safety; it is titanic, ubiquitous and blind. Pattern gives continuity without consideration – it simply is.
As an educationalist > I see the pedagogic role as accepting responsibility for creating and adapting student-focussed learning environments. A practice in its formative stage of development is potentially vulnerable, being critically fluid and prone to fantastic uncertainties. This requires the teaching to be equally adaptive and resonant to multiple needs and demands. Students should be challenged and supported through the process of defining their own research activities and by discovering suitable equivalences within a culture of research-informed teaching. For more information: A|D|M http://artistdesignermaker.org