2014-15, size variable. Paper, charcoal, masking tape, thread, PVA glue.
A large generic charcoal drawing (4 A1 sheets tall) was completed. The process was to break down and rebuild and turn the material into something else entirely. The drawing was cut into 768 pieces, arranged meticulously from light to dark and then bound into a book. One of 768 pieces was selected, scanned and blown up to thousands of times the size. The book and print are displayed together.
CENTRAL SAINT MARTINS
FINE ART DEGREE SHOW 2015
a ' g ' n, 2015, size and arrangement variable. Brush, canvas, chalk, charcoal, clementine peel, coal, copper wire, cork, dust, foam board, garlic bulb, glass, gold leaf, grass, human hair, jade plant, masking tape, matches, MDF, metal tray, muslin, organic matter, panel pins, paper, paper board, pen, pencils, plastic bags, plastic bottle, plastic pots, pins, porcelain, raffia, river water, sand, screws, sea glass, sea water, seeds, soil, string, thread, twine, waxed thread, wood.
A deconstructable space filled with deconstructed works and deconstructed words. a ' g ' n refers to the titles of the three books, each book following a different interlinked character: Alice, Gabe and Nate respectively.
2012-Present; triptych, each panel 83 x 59cm, pen and pencil on paper.
For the first of three panels I wrote indiscriminately in a stream of consciousness reacting to my own experiences and the environment around me. The second and third panels are more structured visions of the city set out in the first, with plots, characters and story arcs. Total number of words: 29,119.
The short stories were transcribed into a more readable format and bound in three volumes. On the right hand page is the original text and on the left hand page the words have been rearranged into alphabetical order.
Exhibited in Big Space IV, 2015.
There is something so honest about the things we try and clean away. They tell their own truths and stories. Each little speck is its own miniature universe.
I took the old 2002 world atlas that was blu-tacked to my childhood bedroom wall, cut out all the countries, little islands and flags and reordered them. I wanted to take something unquantifiable such a nationhood, and use it as material.
2014, dimensions variable. Human skin.
In its material form skin is considered quite disgusting, the leftovers of a body. However we're forever breathing in each other's as a dust and our collected skin covers every surface. It's something we're coated in, our largest organ but we never really consider it as such. Skin, in its colour, its suppleness, its age, is such a loaded topic and I just wanted to show how beautiful it could be. It's somewhere between really fine paper and gossamer.
Featured in Tate Collectives: Order and Compulsion.
I was without my protective cutting mat for several months and instead had to use thick paper substitutes to make my projects, each line a blade mark as another material was cut on top. These rudimentary cutting boards bear the imprints of other work, indexical record of their production.
Exhibited as part of the FID Drawing Prize 2015.
2014, size variable. Paper, pencil, charcoal, masking tape, thread, PVA glue.
A large rather generic pencil drawing (4 A1 sheets tall) was completed. The process was to break down and rebuild and turn the material into something else entirely. The drawing was cut into 191 pieces, arranged from light to dark and then bound into a book.
2014, Paper, thread, ink, citrus fruits, 6 x 8cm.
This palm-sized book was bound to be never ending with no defined beginning or conclusion. The reader can pick it up at any point and read forever. Through runic illustrations the creation, destruction and rebirth mythologies of The Island are told, including the love affair of Life and Death, the schemes of powerful trickster figure “Nobody”, the passage of celestial birds and the dualistic Over- and Under-worlds.