In my work I create a visual psychogeography: exploring place-memory and humanity as a feature of the landscape. This is a metaphysical, psycho-geographical interpretation of accepted notions of contemporary landscape art.
Currently, the romanticisation of geography is a particular focus: I’m interested in the sets of values we ascribe to certain landscapes; some kind of collective psychogeographic language or imperative - learned or innate?
The works are palimpsests: layers upon layers, representing the strata of time, or memory, or experience. Partially obliterated, rewritten and overwritten, with glimpses of other places, other times still partly visible.
These layers may fracture or distort, providing subtle visual inconsistencies, leading to a sense of dis-ease, something off-kilter, imperfect, or dreamlike. A world viewed through a cracked lens, allowing for a certain sense of timelessness and placelessness - even in the most specific of commonly recognised locations or experiences. This makes room for wider experience to be extrapolated. In these layers lie the imprint of lives led, traces left, memories half recalled, a sense of place that is felt rather than remembered. In the observation of small moments, wider world events may be reflected.
PROCESS
I describe myself as working at the intersection of trad and digital media: painting, drawing, photography and exploratory digital creation strategies. My working process is alchemical and serendipitous. I have zero interest in a slick Photoshop process or aesthetic, and often feel that the descriptor of ‘digital’ is an accidental or misleading appellation. My work is a fusion of all sorts of media, and digitally captured images are just another - like oil paint or charcoal - and I approach them in exactly the same way.
Currently, the romanticisation of geography is a particular focus: I’m interested in the sets of values we ascribe to certain landscapes; some kind of collective psychogeographic language or imperative - learned or innate?
The works are palimpsests: layers upon layers, representing the strata of time, or memory, or experience. Partially obliterated, rewritten and overwritten, with glimpses of other places, other times still partly visible.
These layers may fracture or distort, providing subtle visual inconsistencies, leading to a sense of dis-ease, something off-kilter, imperfect, or dreamlike. A world viewed through a cracked lens, allowing for a certain sense of timelessness and placelessness - even in the most specific of commonly recognised locations or experiences. This makes room for wider experience to be extrapolated. In these layers lie the imprint of lives led, traces left, memories half recalled, a sense of place that is felt rather than remembered. In the observation of small moments, wider world events may be reflected.
PROCESS
I describe myself as working at the intersection of trad and digital media: painting, drawing, photography and exploratory digital creation strategies. My working process is alchemical and serendipitous. I have zero interest in a slick Photoshop process or aesthetic, and often feel that the descriptor of ‘digital’ is an accidental or misleading appellation. My work is a fusion of all sorts of media, and digitally captured images are just another - like oil paint or charcoal - and I approach them in exactly the same way.